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| | Program Notes - Printer-Friendly |
 | | Until the turn of the century he was a composer primarily of tone poems, but from 1900, when he began Feuersnot, until 1941, the year he completed Capriccio, his chief interest was opera. |
 | | The even more decisive failure of Guntram in Munich a couple of years later brought no such distraction or solace, and Strauss designed his next opera, Feuersnot, as a satire on the philistinism of his native city. |
 | | Both were a bit risqué, and Strauss rewarded Dresden’s willingness to take them on with the premieres, by then coveted honors, of Elektra, Der Rosenkavalier, Intermezzo, Die ägyptische Helena, Arabella, Die schweigsame Frau, and Daphne. |
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