CAPRICCIO STRAUSS LIBRETTO PDF

It took up the quarrel waged in the 18th century by fans of the Italian composer Puccini, who advocated that words should reign supreme in opera, against the defenders of Gluck, for whom the music was pre-eminent. Out of this dry subject matter, Strauss created a magnificent work, crammed with musical and literary references, full of charm and intelligence, great lyricism and a startling vivacity. Elegance and virtuosity, humour and sensitivity are scattered throughout the text and score of this masterpiece; Strauss put a great deal of himself and his own philosophical ponderings into it. In this case, it is impossible to choose between the respective merits of words and melody.

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It took up the quarrel waged in the 18th century by fans of the Italian composer Puccini, who advocated that words should reign supreme in opera, against the defenders of Gluck, for whom the music was pre-eminent. Out of this dry subject matter, Strauss created a magnificent work, crammed with musical and literary references, full of charm and intelligence, great lyricism and a startling vivacity. Elegance and virtuosity, humour and sensitivity are scattered throughout the text and score of this masterpiece; Strauss put a great deal of himself and his own philosophical ponderings into it.

In this case, it is impossible to choose between the respective merits of words and melody. Acte 1 In the 18th century, a coterie of artists is rehearsing a performance arranged for the birthday of the lovely young Countess Madeleine soprano , who was recently widowed. Poet Olivier baritone and musician Flamand tenor are both in love with the Countess. This love rivalry is matched with an artistic divergence over the primacy of music or words in the opera. La Roche the theatre director bass tries in vain to bring them together.

They both perform the final love scene written by Olivier, the high point of the sonnet. Olivier, finding himself alone with Madeleine, professes his love for her. The poet then becomes angry, but he is interrupted by La Roche, who demands he attend the rehearsals.

Flamand takes advantage of his absence to confess to the countess his passion for her; he asks her to choose between them.

She puts off answering until the following day. She confirms to her brother that she is unable to decide, while the friendly meeting continues with a dance performance. When La Roche announces the outline of the performance to come, a quarrel breaks out regarding the respective virtues of poetry, music and theatre. Flamand and Olivier attack La Roche who fiercely defends his programme in a brilliant statement of his case.

The countess tries to reconcile the parties by proposing that they join together to work on the same opera. Better to sleep on it, as they say.

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Capriccio, op. 85

Questa domanda prende vita nella storia di una Contessa combattuta tra due pretendenti: il poeta Olivier e il compositore Flamand. Circa il Al castello della Contessa Madeleine, si sta svolgendo la prova di un sestetto per archi di Flamand, di nuova composizione. Olivier e Flamand discutono sui meriti della musica e dei versi. Olivier ha scritto un nuovo dramma per celebrare, il giorno seguente, il compleanno della Contessa. Tutti si avviano alle prove. La Contessa e suo fratello, il Conte, discutono dei rispettivi corteggiatori.

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Capriccio (ópera)

Si cambia di epoca. Il che chiamerei presenza di spirito. E come avete visto i suggeritori dormono. Entra il maggiordomo con alcuni servitori, che ad un cenno della Contessa servono la cioccolata.

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Capriccio (Strauss)

Synopsis[ edit ] The theme of the opera can be summarized as "Which is the greater art, poetry or music? This was a topic of discussion at the time of the setting, as in an opera named for the issue, Prima la musica e poi le parole First the Music and Then the Words Salieri, This question is dramatized in the story of a Countess torn between two suitors: Olivier, a poet, and Flamand, a composer. This sextet is in reality a very fine composition for string sextet and is played in concert form as a piece of chamber music, independent of the opera. Olivier and Flamand debate the relative powers of words and music. They engage in a rather furious argument which is semi-spoken rather than sung in definable arias. The theatre director La Roche wakes from a nap, and reminds them both that impresarios and actors are necessary to bring their work to life.

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Capriccio (Oper)

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