It has been a week and it is maybe too late to write a long and detailed account but I could not pass the opportunity to write about a truly wonderful evening with one of the greatest Strauss singers of our times. Renée Fleming all too infrequently graces the stage of the Royal Opera House and those two concert performances of Capriccio were the hot ticket of the season. Judging from the people around us quite a few of them were there to tell their friends about it than to watch and be immersed in Strauss’s last opera. Particularly the gentleman next to me spend most of the two and a half hours staring at his watch , tossing and turning and biting his nails. Something that thankfully happens rarely.
Capriccio like a few of his operas has a long climb over dense recitativi that may seem taxing but I see them as a minor trial for the glorious final pay off. His melodic gift and the way he put together 18th century French motifs with his usual glowing orchestration is such a genuinely sensual experience that cannot be replicated be listening to any recording. The Royal Opera House orchestra was on great form and under Andrew Davis they delivered a mellifluous account of the score, short maybe on a touch of largesse but it was enveloping and luxurious. Due to the dialectic nature of the work not having the staging wasn’t too damaging as it allowed full concentration to the words and music. And that being the main philosophical issue concerning the stage action it cannot possibly be a bad thing.
The cast with the exception of Fleming, Skovhus, Banks and Plaza were using scores but most managed to convey the essence of their character. Particularly the little petulant put downs between Andrew Staples and Christian Gerhaher were delicious and brought out the controlled hilarity of the libretto. Fleming and Skovhus were in a level of their own, bouncing off each other and having a complete command of the stage and projecting strong personalities throughout. Particularly Fleming in her silver Vivienne Westwood dress was exuding finesse and enough upper class deportment to convince, while having a knowing glint in the eye.
Her sublime final monologue was a huge climactic pay off and it was definitely worth the two-hour wait. The uncertainty filled conclusion was rendered in glowing sotto voce with unmistakable depth of feeling. Every gesture a small way in to her inner thoughts, understated and yet impossible for one to take their eyes off her. The star quality of the main heroine in a Strauss opera is for me as part of the experience as the work itself. Without the inner glow and stage experience it can render the work a parody and Strauss’s calculated built ups into dull plateaus. Her final choice between music or text or one of her either suitors Olivier or Flamand and her final indecision was beautifully acted as she picked up the music and the words in separate pieces of paper and tossed the words and longingly looked at the music before she left it on the chair and finished off the scene. We were none the wiser but at heart we hoped that Flamand and her love of his setting for the sonnet won her over.
There were a couple of weak links in the cast but all could be brushed aside at the sight and sound of Fleming who won hearts and minds and the eruption of applause made no secret how much we appreciated all she offered.
The stage was rigged for recording so I do wonder if this performance will be released any time in the future. There is already a recording and DVD with her signing the role so not idea if there is a market for another one. But time will tell.
The Curtain Call