Three individuals — the director, the scenic and costume designer, and the lighting designer — shared their concepts for this opera. To begin with the director provided some background information about Strauss and the times in which Capriccio was composed. Strauss became a representative for the Nazi Party, generally to be able to compose as he wished. By 1942 when the opera was completed, Strauss’s Jewish daughter-in-law and relatives were in concentration camps. The basic subject of the opera is which is more important: words or music? What Strauss was trying to do was to maintain culture in terrible times. It was a time when artists were grappling to survive.
In the opera, people meet in a rich woman’s house which becomes a metaphor for love. This team created a modernist house with a jewel of an eighteenth century room. A garden can be seen in the distance. The element of surprise is gone since in this opera house as soon as the audience enters the theatre, they can see the setting. The set should also be a metaphor that encapsulates the mood of both the 18th century and modern times. There a varying surface levels which conform to the action on the stage.
The costumes also combine the 18th century and modern times. It is not reality, but more like a surrealist interpretation of these times. The audience should feel the impact of the opera, not try to make it exact.
The lighting complements the journey which goes from daylight (sunset) to evening. It is a journey to loneliness.
Overall the opera can be defined as one that is deeply serious, but also a lighthearted piece.
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