What is more important, words or music? That’s essentially the plot of Richard Strauss’ operatic swan song, for which Clemens Krauss fashioned a mildly droll and frankly uninteresting libretto. But if you approach Capriccio as the ultimate valentine to orchestral song rather than music drama, you’ll be quicker to appreciate its stylized charm, offhand fluidity, and rarified aura. Of the work’s three “official” recordings, the first one still boasts the most cohesive ensemble work, supplest conducting, and a level of singing that you’ll be hard pressed to find elsewhere. Even if you already own EMI’s 1987 full-priced transfer of this classic recording, do consider this cheaper sonic upgrade, for it sounds much better. Tape hiss is reduced, yet the voices and instruments sport more dimension, color, and amplitude.
What delicious, blue-blooded siblings Elisabeth Schwarzkopf and Eberhard Wächter make, while Nicolai Gedda’s yummy Flamand and the volatile Olivier of Dietrich Fischer-Dieskau add vivid fuel to the music’s gentle fires. Clarion, the actress, reveals the 30-something Christa Ludwig in her element. Best of all, however, is Hans Hotter. His portrayal of the oafish theater director La Roche offers a thousand lessons in what a singing actor is all about, just like his better-known Wotan. The smaller roles are also cast with distinction, and the Philharmonia Orchestra soars under Sawallisch’s lithe, eloquent leadership. Who cares if it’s mono? If you love late Strauss, life isn’t complete until you add this set to your collection.
