Get our free email newsletter with just one click

Capriccio review at Garsington Opera, Wormsley – ‘makes a profound impression’

William Dazeley and Miah Persson in Capriccio at Garsington Opera. Photo: Johan Persson William Dazeley and Miah Persson in Capriccio at Garsington Opera. Photo: Johan Persson
by -

Garsington has a long track record with Richard Strauss, and in their 30th season, they return to his operatic will and testament, Capriccio.

He described it as a conversation piece, and its characters – the sister and brother who own a chateau outside Paris around 1775, and who are keen patrons of the arts, plus their theatrical guests – discourse about the art of opera and the relationship between the various elements that go to make it up.

In the wrong hands, the result could be dry as dust, but Strauss, here at his most witty and yet most lyrically effusive, turns the discussion and the final moment of decision – when the Countess has to choose between her suitors, a writer and a composer – into one of his most involving scores.

It certainly holds the attention in Tim Albery’s staging to handsome designs by Tobias Hoheisel that blend the 18th century of the original with the period of the work’s creation in 1940-41; the result is a very good-looking show.

It sounds wonderful, too, with the Garsington Opera Orchestra excelling itself under the company’s artistic director, Douglas Boyd, who allows Strauss’ long lines to flow as he elucidates the complexity of the composer’s super-enriched harmonies and gorgeous orchestral writing.

Miah Persson provides the centre of attention as the deeply sentient Countess, her final solo scene unforgettable in its expressive warmth. Andrew Shore stands up for the theatre that has been his life as the old director La Roche, with Hanna Hipp a bracing presence as the actress Clairon.

Sam Furness and Gavan Ring relish their permanent stand-off as rivals composer Flamand and poet Olivier respectively, while Graham Clark delivers a superb cameo as the ancient prompter Monsieur Taupe, whom everyone needs but whom all have forgotten.

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Strauss’ opera about opera makes a profound impression under conductor Douglas Boyd