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Opera Review: Capriccio at the Metropolitan Opera

On the evening of Thursday, April 7th, 2011, I attended a performance of the Metropolitan Opera's production of Richard Strauss's profound "conversation-piece", Capriccio. This productifleming_capriccioon, directed by John Cox, here receives its first revival since its 1998 premiere. The purpose of the opera's original 18th-century setting is meaninglessly undermined here by placing the action in the 1920s; nor is there any especial merit in the mise-en-scene. However, the outstanding Metropolitan Opera Orchestra sounded superb under the direction of Andrew Davis.

The singers were, as a whole, at the very least, adequate, although this was not as strong a showing of vocal talent as in last year's glorious production of Strauss's more substantial Ariadne auf Naxos, due to be revived again this season in coming weeks. Among the highlights of this performance were Sarah Connolly, who had several vocally impressive moments as the actress Clairon, even if she seemed unsuited to projecting the physical appeal of the role as written. (Connolly, however, was absolutely stunning in her solo recital at Alice Tully Hall, the following week.)

The Metropolitan Opera stalwart, Barry Banks, was perfectly cast in the supporting comic role of one of the Italian singers: he has one of the most beautiful tenor voices to be heard on this stage in recent months. Joseph Kaiser, as the composer Flamand, also has a lovely voice and was not bereft of a certain ingenuous charm.

However, the evening belonged to the production's star, Renée Fleming, an exquisite Strauss interpreter and a subtle actress, looking exceptionally glamorous here and performing the astonishing final monologue nearly flawlessly.

Capriccio

Composer: Richard Strauss

Librettists: Clemens Krauss and the composer

Conductor: Andrew Davis

Production: John Cox

 

The Metropolitan Opera

Lincoln Center

Tickets: 212-362-6000

www.metopera.org



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