Capriccio - Schedule, Program & Tickets


The Countess | Angela Denoke
The Count, the Countess's brother | Markus Eiche
Flamand, a musician | Michael Schade
Olivier, a poet | Adrian Eröd
La Roche, director of a theatre | Lars Woldt
Clairon, an actress | Angelika Kirchschlager

Conductor | Michael Boder
Director | Marco Arturo Marelli
Set design and lighting | Marco Arturo Marelli
Costumes | Dagmar Niefind
Choreography | Lukas Gaudernak

The opera Capriccio is about an opera being written. The plot outlines a day in the salon of the young widowed artlover Countess Madeleine, around whom the events unfold. Like a muse, Madeleine inspires the artists around her. First and foremost, the poet Olivier and the composer Flamand, both of whom are in love with her and hope to conquer the heart of the beautiful countess with their artistic creations. However, she cannot decide between the two of them. Another rivalry exists between Flamand and Olivier, namely the question of the importance of words and music: do the words or the music take precedence – prima la musica dopo le parole, or is it the other way around: prima le parole dopo la musica? The two of them await a decision on this matter from the Countess, who however realizes that only the union of words and music can achieve artistic perfection: “One lives in the other and seeks the other.” The practically minded theatre director La Roche takes a very different position. For him, all that matters is drama with audience appeal and memorable music. Accordingly, he wants to rehearse a grand homage performance to celebrate the Countess’s birthday. Instead of the outdated festival, the Countess expresses the wish for a new opera. The Count, her brother, proposes “somewhat mischievously”, that they use the events of the “current” day they have just experienced, including the heated discussions on the importance of words and music, as the plot for the opera.

The idea meets with general approval and the company disperses. Left alone, the Countess tells the steward that Olivier will call on her the following morning in the library to find out from her what the ending to the planned new opera is to be, in other words what her final decision is on the superiority of words or music. And therefore also her choice: Olivier or Flamand. Since Olivier will appear in the library at the same hour as Flamand, with whom the Countess has also made an appointment in the same place, there will however be no decision. The ending of the opera remains unresolved. Looking for an answer, Madeleine turns to her mirror: “Is there an ending that is not trivial?”

Subject to change.

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