We show a recording from the Teatro Real in Madrid, where the opera premiered in In the Countess, Strauss once again created a grand, complex female figure. Or is it rather the music that dominates? The count suggests performing an opera about the very topic of their discussion, about themselves, about «the events of the day today, what we experienced». His father bought him a telescope and he used it to systematically record sunspots, and later attempted to make a larger 6-inch reflector, a project left uncompleted. He also left a legacy to the world of astronomical knowledge that has long been universally admired and appreciated, making his name synonymous with late 20th-Century observational cosmology.

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Or is it rather the music that dominates? It is his last opera, written when he was nearly Capriccio, however, is anything but dry discourse about the dominance of language or music in opera.

He also left a legacy to the world of astronomical knowledge that has long been universally admired and appreciated, making his name synonymous with late 20th-Century observational cosmology. The only child of Charles Harold Sandage, a professor of advertising who helped establish that academic specialty after obtaining a PhD in business administration, and Dorothy Briggs Sandage, whose father was president of Graceland College in Iowa, Allan Sandage grew up in a thoroughly intellectual, university oriented atmosphere but also a peripatetic one taking him to Philadelphia and later to Illinois as his father rose in his career. During his 2 years in Philadelphia, at about age eleven, Allan developed a curiosity about astronomy stimulated by a friend's interest. His father bought him a telescope and he used it to systematically record sunspots, and later attempted to make a larger 6-inch reflector, a project left uncompleted. As a teenager Allan read widely, especially astronomy books of all kinds, recalling in particular The Glass Giant of Palomar as well as popular works by Eddington and Hubble The Realm of the Nebulae in the early s.

In a salon near Paris, a theater director, a poet, a composer, and actress, and the count who loves her passionately discuss the nature of various artistic genres. The count suggests performing an opera about the very topic of their discussion, about themselves, about «the events of the day today, what we experienced».

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Her love is the object of desire, the prize at the center of the artistic competition between the poet Olivier and the composer Flamand. But as much as she feels herself attracted to them both, the Countess leaves her choice unmade — just as with the finale of the work to be performed in Capriccio.

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In the Countess, Strauss once again created a grand, complex female figure. With her mysterious, enigmatic aura and her ironic, melancholy, insightful poise, she is a woman that hews closely to her predecessors Arabella and the Marschallin in Rosenkavalier.

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We show a recording from the Teatro Real in Madrid, where the opera premiered in As a co-production between Madrid and Zurich, Capriccio would also have been shown with a modified cast at Zurich Opera House on the Whitsun weekend in All the decorations were created in Zurich.