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	Capriccio (opera) - Wikipedia, the free encyclopedia
		Capriccio is an opera by German composer Richard Strauss.
		In her salon outside Paris, the two prepare for her birthday celebrations and vie for her affections by debating the merits of words versus music.
		Capriccio has a reputation as something of an insider's opera, an opera about opera for opera lovers.
	en.wikipedia.org /wiki/Capriccio_(opera) (225 words)

	Capriccio - Wikipedia, the free encyclopedia
		A free-form, lively piece of music: see Capriccio (music).
		An opera by Richard Strauss: see Capriccio (opera).
		A type of landscape painting that places particular works of architecture in an unusual setting.
	en.wikipedia.org /wiki/Capriccio (119 words)

	Opera Works
		: opera in five acts by Glinka; first performed in St. Petersburg in in 1842; characters are taken from Russian folklore; this opera serves as a prototype for the fantasy operas of Rimsky-Korsakov and Stravinsky.
		: opera in three acts by Verdi; libretto is by Piave after a story by the younger Alexandre Dumas usually known as Camille; the story is about a beautiful courtesan who sacrifices everything for the one true love of her life; first performed in Venice in 1853.
		opera in two acts by Mozart; first performed in Vienna in 1791; the last opera of Mozart's opera; more properly called a Singspiel because of its German text; the story is both a fairy tale and a story full of religious truths.
	patriciagray.net /Operahtmls/works.html (2732 words)

	The Classical Opera Information Page on Classic Cat
		Opera refers to a dramatic art form, originating in Europe, in which the emotional content or primary entertainment is conveyed to the audience as much through music, both vocal and instrumental, as it is through the lyrics.
		Traditional opera consists of two modes of singing: recitative, the dialogue and plot-driving passages often sung in a non-melodic style characteristic of opera, and aria, during which the movement of the plot often pauses, with the music becoming more melodic in character and the singer focusing on one or more topics or emotional affects.
		Opera was imported into both countries before the middle of the 17th century, where it fused with the local incipient genres.
	www.classiccat.net /genres/opera.info.htm (3770 words)

	Opera Today : STRAUSS: Capriccio
		I suspect that when we survey the musical landscape of the early seventeenth century, it is opera, monody, and madrigal that come most quickly and lastingly into view, and given the contemporaneous attention given to the relationship between music and word, it is unsurprising that this would be the case.
		A brother and sister of nobility act as patrons for a new work, and the young composer and librettist not only vie artistically for primacy, but also to be the Countess’ first choice as paramour (while her brother the Count pursues Clairon, an actress).
		Capriccio is a fragile piece, and without being able to place blame in one exact area, something false about the production hampers and deadens the affair.
	www.operatoday.com /content/2006/01/strauss_capricc.php (1820 words)

	CLASSICAL MUSIC ARCHIVES: Definition of OPERA
		In one sense his operas were a reaction against the spectacular ‘singers’ operas' of Meyerbeer which he had seen in his Parisian youth.
		Nationalist opera was principally an E. European development, beginning with Glinka's A Life for the Tsar in 1836 and continuing with Mussorgsky's Boris Godunov and Borodin's Prince Igor.
		Operas by the It.-born Menotti and by Barber and Argento followed the European tradition, and qualities of exuberance, raciness, and wit which the Americans bring to mus.
	www.classicalarchives.com /dict/opera.html (1544 words)

	Glossary of Terms
		opera in five acts by Meyerbeer; first performed in Paris in 1865; set in Portugal in the first years of the Inquisition.
		opera in prologue and one act by Richard Strauss; combines elements of opera seria and opera buffa; first performed in 1912.
		folklore; this opera serves as a prototype for the fantasy operas of Rimsky-Korsakov and Stravinsky.
	www.uky.edu /~cecilia/MUSIC/Moore/glossary.htm (2744 words)

	Opera :: O : Gourt
		Opera refers to a dramatic art form, originating in Italy, in which the emotional content or primary entertainment is conveyed to the audience as much through music, both vocal and instrumental, as it is through the lyrics.
		Comparable art forms from various parts of the world, many of them quite ancient in origin, exist and are also sometimes called "opera" by analogy, usually prefaced with an adjective indicating the region (for example Chinese opera).
		However, the words of the opera, or libretto, are customarily sung rather than spoken.
	arts.gourt.com /Music/Styles/O/Opera.html (813 words)

	Panache Magazine \| THE PEOPLE'S OPERA
		Opera-for-All consists of two evenings for which every seat in the house will be priced at $25.
		On September 8, Manahan leads City Opera forces in season highlights, with an appearance by singer-songwriter Rufus Wainwright, one of today’s hippest opera buffs, and a postconcert celebration on the New York State Theater promenade.
		Opera-for-All, supported by the Peter Jay Sharp Foundation, 96.3 FM WQXR and CIT Group, Inc., and spearheaded by City Opera’s Board under the dynamic leadership of banker-turned-champion of the arts Susan Baker, looks to be one of the most exciting events in a season filled with surprises.
	www.panachemag.com /9_05/Features/NYOpera/NYOpera.asp (2058 words)

	LORENZO DA PONTE, MOZART’S LIBRETTIST
		Operas and operettas are usually referred to by the name of the composer alone, the librettist being relegated to a Limbo-like existence.
		So for any given opera season the official or court poet might find plenty of work as there were few "revivals." And even "revived" operas usually had to be rewritten to satisfy the local lord and/or the available singers.
		The opera is a statement of the Enlightenment, which discarded organized religion and, hence, religion’s major tabu, sexual permissivity.
	www.pzweifel.com /music/lorenzo_da_ponte.htm (2624 words)

	Capriccio Stravagante - Biography (Site not responding. Last check: 2007-10-10)
		Capriccio Stravagante is world-renown for their memorable interpretations of Renaissance and Baroque music.
		These recordings have made a considerable contribution to Capriccio Stravagante’s acceptance as the foremost interpretive force in Renaissance and Baroque repertoire to have emerged in decades.
		The combination of nonchalance and power which are the trademarks of Skip Sempé and Capriccio Stravagante’s live performances have been rewarded with outstanding critical praise worldwide.
	www.stravagante.com /bio.html (329 words)

	Amazon.ca: Capriccio (San Francisco Opera: DVD: Kiri Te Kanawa,Håkan Hagegård,Tatiana Troyanos,Victor Braun,David ... (Site not responding. Last check: 2007-10-10)
		Troyanos as Clairon is as elegant as always, but she was very sick when this performance was filmed (and unfortunately died the same year), and is nowhere near her recorded performance for Bohm.
		Capriccio is a "Conversation Piece for Music", and the truncated subtitles of this issue will let you follow the argument, but not carefully enough.
		Capriccio is not an overtly dramatic work, but repays careful attention and study.
	www.amazon.ca /Capriccio-Francisco-Opera-Kiri-Kanawa/dp/B00009PY2C (1224 words)

	Capriccio Stravagante Trio
		He is the recipient of the 2002 Capriccio Stravagante Prize, founded in 1998 to recognize and support exceptional individuality and talent in the fields of Renaissance and Baroque music.
		Julien Martin is a soloist member of Capriccio Stravagante and the Capriccio Stravagante Renaissance Orchestra, and has toured and recorded in the company of Skip Sempe, Serge Saitta, Guillemette Laurens, Lynne Dawson, Cecilia Bartoli, Les Musiciens du Louvre and Chanticleer.
		In the last season he returned twice to the USA and Canada, for concerts with the Capriccio Stravagante Renaissance Orchestra and the Studio de Musique Ancienne in Montreal, and for a tour of duo concerts with Skip Sempe including performances in Los Angeles, New Orleans and at Stanford University.
	www.harpsichord-sd.com /sempe.html (1045 words)

	ionarts
		This is the conclusion of a review of Richard Strauss's final opera, Capriccio, performed by the Opéra de Paris at the Palais Garnier, on July 8.
		In that context, the opera really does present a dream of a better time, an era when the "war" was only between supporters of Gluck and supporters of Piccinni, and it brings into relief how governments can shackle the arts for their own purposes.
		By placing the Countess in the audience at the start of the opera, the production identifies her with us, and indeed she is the listener who has to choose between the poet and the composer, both of whom are in love with her, at the opera's conclusion.
	ionarts.blogspot.com /2004/07/capriccio-at-garnier-part-2-of-2.html (1909 words)

	Third Avenue: A jubilant beginning
		While the City Opera may be the poor relation to its next-door neighbour, the Metropolitan Opera, there was no sense of witnessing second-best at last night's performances.
		Capriccio's plot, such as it is, seems a curious choice for an opera.
		Wisely moving the action from the 18th century setting of the original to the 1940s, when the opera was written, Lawless proves himself both a subtle handler of delicate scenes and to be in possession of an excellent comic eye when needed.
	thirdavenue.typepad.com /third_avenue/2005/09/a_jubilant_begi.html (778 words)

	Reproduction oil paintings, art reproduction on canvas, reproduction art, museum reproductions - 1startclub
		Opera refers to a dramatic art form, originating in Europe, in which the emotional content is conveyed to the audience as much through music, both vocal and instrumental as it is through the lyrics.
		Short melodic or semi-melodic passages occurring in the midst of what is otherwise recitative are also referred to as arioso; in the late 19th century, many composers abolished much of the distinction between recitative and aria, writing opera which is essentially presented in a restlessly melodic arioso style throughout.
		All types of singing in opera are accompanied by musical instruments, though until the late 18th century generally, and persisting until even later in some regions, recitative was accompanied by only the continuo group (harpsichord and 'cello or bassoon).
	www.1startclub.com /opera.htm (749 words)

	Dictionary
		Capriccio : Opera in one act by Richard Strauss; first performed in 1942; deals with the question of whether music or poetry is more
		Delibes, LÈo: (1836-91); French composer of the opera Lakme (1883) and the ballets Sylvia and Coppelia.
		Fidelio: rescue opera by Beethoven; first performed in 1805; deals with a wife's attempt to rescue of her husband who is a political
	www.uky.edu /~cecilia/MUSIC/Moore/dictiona.htm (2739 words)

	opera
		During the period when composers often used both methods of recitative accompaniment in the same opera, the continuo-only practice was referred to as "secco" (dry) recitative, while orchestral-accompanied recitative was called "accompagnato" or "stromentato." Some genres of opera use spoken dialogue accompanied or unaccompanied by an orchestra rather than recitative.
		Despite his foreign origin, he established an Academy of Music and monopolized French opera from 1672; this is rendered ironic by the later struggle for supremecy between the French and Italian operatic styles that raged in the former country's press for over a century.
		New Jersey Opera Theater (NJOT), a non-profit performing arts organization founded in 2002 and based in Princeton, seeks to be nationally recognized as a leader among regional opera companies – providing opera for all and arts education for a lifetime.
	www.dirpedia.com /opera.html (4226 words)

	Strangers in a Strange Land, Part 1
		Richard Strauss had a fondness the out-of-context inclusion of characters who are pointedly Italian, as is evidenced by the Italian tenor and soprano plunked into the 1942 Capriccio and the Italian singer in the 1911 Der Rosenkavalier.
		Brought in and then thrust away as peremptorily as are the Marschallin's other strictly for-hire cameo characters, these singers perform their "gigs" in florid Italian; in Capriccio, however, the couple's spoken text is in fluent German.
		Perhaps the geographically evocative music of these three arias is already familiar to you -- but I strongly recommend taking a look at their lyrics, too: all are magnificently worded descriptions of each merchant's native land.
	www.suite101.com /article.cfm/opera/66051/3 (292 words)

	TIME.com: New Records -- Apr. 20, 1959 -- Page 1 (Site not responding. Last check: 2007-10-10)
		The subject is opera itself—the relative merits of words and music—and it might just as aptly have been summed up under the title Six Characters in Search of an Opera.
		As the day wanes the six decide to compose an opera based on the afternoon's talk, and the Countess is finally left with the agonizing task of choosing between Poetry and Music— Poet and Composer.
		Capriccio had its premiere in the war-scarred Munich of 1942 and has only rarely been seen outside since.
	www.time.com /time/magazine/article/0,9171,864601,00.html (657 words)

	Richard Strauss CAPRICCIO Nederlandse Opera, Amsterdam, September 2000. (AW) (Site not responding. Last check: 2007-10-10)
		In our post-modern era Opera is not only alive and well, but flourishing and expanding as the cross-over art-form par excellence, capable of embodying current social and cultural values.
		Mounted in Amsterdam's thoroughly up to date opera house (which caused understandable controversy when it first appeared in its key position at the head of the Amstel) it offers renewal and renewed insights and thereby plays its part in keeping opera alive.
		Upon return, it was a pleasure to listen afterwards to the historic Walter Legge/Sawallisch recording of 1957, with Schwarzkopf supported by a dream cast, and to savour the uncommon intelligence and sophistication of the libretto.
	www.musicweb.uk.net /SandH/2000/sept00/CapriccioAmsterdam.htm (1061 words)

	The Dallas Opera - Cavalleria Rusticana / Pagliacci
		Jovanovich won the Crawley Award from the Young Patronesses of the Opera/Florida Grand Opera Voice Competition and in 2004 was honored with the prestigious ARIA Award.
		She also made her Boston Lyric Opera debut as Tatyana in Eugene Onegin conducted by Stephen Lord and directed by James Robinson, and her role debut as Susanna in Opera Colorado’s Le nozze di Figaro, before concluding her season in the title role of Madama Butterfly at Central City Opera (Colorado).
		Donato Renzetti is music director of the Macerata Opera Festival and principal conductor of the Orchestra Stabile di Bergamo.
	www.dallasopera.org /the_season/050601-bios.php (1218 words)

	Opera Colorado : About Us : Artistic Director
		Under his guidance, Opera Colorado has quickly become recognized as one of the countryâs finest regional opera companies, and Opera Colorado has raised its profile in the greater American opera scene by participating in numerous co-productions with Seattle Opera, Opera Theatre of St. Louis, Boston Lyric Opera, The Minnesota Opera and Houston Grand Opera.
		Future projects for Opera Colorado include Handelâs GIULIO CESARE featuring Stephanie Blythe in the title role and Elizabeth Futral, LE NOZZE DI FIGARO with Maria Kanyova, Mariusz Kwieczen and Christopher Feigum, and CARMEN with Denyce Graves, Julian Gavin and Pamela Armstrong.
		For Opera Theatre of St. Louis he directed the world premiere of the revised version of Dominick Argentoâs MISS HAVISHAMâS FIRE and, most recently, NIXON IN CHINA, a production that will be seen at many companies throughout the U.S. in coming seasons.
	www.operacolorado.org /about/index.aspx?pageID=38 (383 words)

	Listening Highlights: At the Opera - 7.05pm
		Richard Strauss’ last opera, Capriccio, described by its composer as a conversation piece for music — debates the supremacy of words or music in opera.
		At the centre of the work is one of Strauss’ most glorious creations for the soprano voice — the Countess Madeleine, courted by both a composer and a poet, representing the spirit of opera itself, a source of inspiration and a synthesis of music and poetry.
		This role proved a perfect vehicle for one of Australia’s favourite opera stars, Yvonne Kenny, initially in Melbourne and then in Sydney during the Olympic Arts Festival in 2000 in a staging by John Cox, renowned worldwide for his long association with the operas of Richard Strauss, collaborating with eminent French conductor, Phillipe Auguin.
	www.abc.net.au /classic/highlights/s1741681.htm (215 words)

	opera \| English \| Dictionary & Translation by Babylon
		Opera is a dramatic art form, originating in Italy, in which the emotional content or primary entertainment is conveyed to the audience as much through music, both vocal and instrumental, as it is through the lyrics.
		By contrast, in musical theatre, dialogue is spoken and an actor's dramatic performance is generally more important than in opera.
		Todmobile's third studio album, Ópera (Opera), was the band's most ambitious work to date.
	www.babylon.com /definition/opera/English?uil=English (408 words)

	Amanda Pabyan (Site not responding. Last check: 2007-10-10)
		Engagements of the present season include Ariadne auf Naxos with the Metropolitan Opera and the Dallas Opera, Capriccio at New York City Opera, Die Zauberflöte at the Dallas Opera and Utah Symphony & Opera, and Die Entführung aus dem Serail at Opera Colorado and in concert with James Conlon at the Cincinnati Symphony May Festival.
		On the concert stage, she has joined the American Symphony Orchestra at Lincoln Center in a triple-bill of semi-staged operas by Hindemith, performed the Fauré Requiem with the North Carolina Symphony Orchestra, and appeared in a New Year’s Eve performance with the Boston Pops Orchestra in a program saluting the Viennese tradition Ms.
		She joined Glimmerglass Opera as a member of the Young American Artist Program in the summer of 2002 and appeared with the Santa Fe Opera in 2001 as part of the company’s Apprentice Artist Program.
	amandapabyan.com (239 words)

	Opera Today : STRAUSS: Lieder
		Under the direction of James O’Donnell since January 2000, the Choir of Westminster Abbey has cultivated a robust singing style that well serves the music of this new recording and continues the Abbey’s position as one of the obvious standard bearers of the English cathedral tradition.
		He approaches this song with a rich, sweet sound that is approach to Strauss’s setting of the text by Hermann von Gilm, and the recurring phrase “Habe Dank” is connected well to the lines that precede it.
		In giving full measure to the longer phrases found in that piece and others in this set, Jarnot uses a resonant, ringing tone that fits the style of the music quite naturally.
	www.operatoday.com /content/2005/11/strauss_vier_le.php (1794 words)

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