Loaded with the star power of soprano Renée Fleming, propelled by music director and conductor Sir Andrew Davis’ unique understanding of the score, and set in the 1920’s framework of John Cox’s controversial production, Lyric Opera of Chicago’s revisitation of Richard Strauss’ “conversation piece” “Capriccio” must be considered in light of its weight as an event that crosses boundaries and begs alliances. Critically argued both for—for its fresh sense of comedy and perception of character—and against as mocking not merely the subject matter but the composer himself, Cox’s direction (here realized by Peter McClintock) was last seen at Lyric twenty years ago with Sir Andrew himself at the orchestral helm; the final jewel in this outing’s headband is provided by Fleming, known to many non-opera goers as a singer of popular song, jazz and the National Anthem.
No newcomer to the role, or to this production itself, Fleming sounds as fresh of voice as ever, and never provokes her instrument to war against the unforgiving acoustics of the hall. If the fake fur around the sleeves of her first gown left both Fleming and her fellows searching for her hands, and if its turquoise shade clashed biliously with the greens of some set pieces, Fleming looked every inch the girlish, early widowed wisp, moving gracefully about the somewhat confusing set, with its period-appropriate furnishings scattered in front of the drawing-room backdrop of a different century. A natural actor and giving scene partner, Fleming never stinted the text. Read the rest of this entry »