Richard Strauss (1864-1949)
Intermezzo (1924)
Christine Storch – Lucia Popp (soprano)
Kapellmeister Robert Storch – Dietrich Fischer-Dieskau (baritone)
Baron Lummer – Adolf Dallapozza (tenor)
Anna – Gabriele Fuchs (soprano)
Notary – Klaus Hirte (baritone)
Kapellmeister Stroh – Martin Finke (tenor)
Local Counsellor – Raimund Grumbach (baritone)
Opera Singer – Kurt Moll (bass)
Bavarian Radio Orchestra/Wolfgang Sawallisch
rec. 1980, Herkulessaal, Munich
Originally released on EMI Classics
Warner Classics 7493372 [2 CDs: 132]

If ever there was an opera that is rewarding mainly for connoisseurs, then it must surely be Strauss’ Intermezzo. It lacks the easy romantic appeal of Der Rosenkavalier, Ariadne auf Naxos, and Arabella, yet neither does it possess the deeper psychological/emotional journeys of Salome, Elektra and Die Frau ohne Schatten. Intermezzo stands as a one-off excursion into real life domestic comedy-drama. Strauss wrote his own libretto for this opera because von Hofmannthsal (his regular collaborator) did not feel the subject was grand enough to work as an opera. In one sense von Hofmannsthal was probably right about this, because Intermezzo is the least played of Strauss’ mature works (even Die Schweigsame Frau clocks-up more frequent revivals than Intermezzo). Yet Strauss poured more of himself and his personal life into Intermezzo than any other work he composed. One could take the view Strauss’ 1898 Sinfonia Domestica was an extended study for what he would later tackle in Intermezzo.

For the subject of the opera, Strauss used an actual curious domestic incident that occurred in 1903 while he was away on holiday in the Isle of Wight. The real incident was remarkably close to the one detailed in the plot of Intermezzo and is recounted in full in William Mann’s study of the operas of Richard Strauss. Strauss took great pains to include many real life details and characters in the story, including their dedicated long-suffering chambermaid Anna, and the real life con-man who became Baron Lummer. Strauss’ biggest challenge was to make the role of the difficult Christine one which would inspire sympathy with the audience. He managed it by musically illustrating everything that he loved about his own wife, the notoriously difficult Pauline de Ahna. Strauss was transfixed by the idea of recreating as closely as possible their domestic situation. Lotte Lehmann (who created Christine for the 1924 premiere) recounts in her book on Richard Strauss, that in rehearsal he was constantly telling her “No, my wife wouldn’t do that…” Even the sets of that premiere production were designed to replicate the interiors of the Strauss’ villa in Garmisch. One can only imagine what Pauline Strauss’ reaction to the opening night was, as she was apparently kept in complete ignorance about the subject of the opera until the curtain rose.

This recording was the first, and to date, only, studio recording of this unusual gem of an opera. The married couple completely dominates this opera; therefore, the need for two singers who can really act is crucial for a successful performance. Lucia Popp’s performance of Christine is a revelation; Christine is probably her greatest dramatic achievement on records. She captures in purely vocal terms the animated, quicksilver temperament of Christine to perfection. She characterizes the role in a constantly shifting display of charm and willfulness: this Christine is never terribly far away from Berg’s Lulu. Vocally her pearlescent tone is full and luscious. She uses little vocal inflections which charm the listener in such phrases as when she sings about her uncle who traveled in Alaska, or when she describes how her husband’s thoughtfulness is driving her mad. She brings theatrical flair to the Sprechstimme (sing-speech) portions and outright dialogue which Strauss regularly gives her to negotiate. In the last scene of the opera she sings a heavenly phrase to the words “Auf wiedersehen” to Baron Lummer that could make angels weep.

Dietrich Fischer-Dieskau gives an equally riveting portrait of the composer Storch. His handling of the text is unforgettable and his portrait of the constantly changing cycle of frustration and patience with his wife is clearly on display for the listener. Vocally he was in excellent form during these sessions, which occurred in the winter of 1980.

The remaining roles are much smaller in terms of stage time. Adolf Dallapozza conveys the Baron with focused charm combined with a hint of the louche about him. Gabrielle Fuchs stands out with her pithy tone and vivid expression as the long-suffering maid Anna. Kurt Moll appears in the tiny role of the Opera Singer in the scene of the game of Skat; an illustration of Richard Strauss’ own favorite pastime.

Crowning this whole enterprise is the skilful leadership of Wolfgang Sawallisch, conducting his own orchestra of the Bavarian Radio. His best moments come during the familiar interludes of the opera – occasional concert pieces found on orchestral programs. Sawallisch really goes to town in these extroverted miniature tone poems. For example, the waltz that leads into the Ball at Grundslee is whipped into wild abandon with confidence and style. Even the delicate minuet, which ironically takes over the game of Skat after Storch receives the letter of separation from his wife, is given a lithe, humorous interpretation by Sawallisch and his orchestra. I adore how Strauss presents a dissonant brass chord nearly every time Christine sings the word “migraine”, playfully underlined in Sawallisch’s interpretation. The score is all bustling activity with occasional brief lyrical outpourings. One can sense that Sawallisch and the singers are really enjoying the ride. The sound from the Bavarian radio engineers has luscious presence and captures the luxurious acoustic of the elegant Herkulessaal in full.

There are three other audio recordings of Intermezzo available in one form or another. A live version on Chandos was recorded at Glyndebourne in the 1970’s (in English) but it has sound only satisfactory at best. There is another live version recorded more recently in concert from cpo, which I have yet to hear. There is a final live version in mono from Munich in the early 1960’s on the Orfeo label, with Hanny Steffek and Hermann Prey, which I also have yet to hear. For non-German speakers who hear this work in German it is essential to have a libretto with the full German text and a concurrent English translation, in order to be able to enjoy such a heavily text-based opera. Unfortunately only the cpo recording provides one, and only for the CD release. As a second option, the Chandos has an English-only translation by Andrew Porter which is at least helpful.

Mike Parr

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Other cast members
Notary’s Wife- Gudrun Greindl-Rosner
Lawyer- Jörn W. Wilsing
The Cook- Elisabeth WoskaMarie/Therese- Erika Rüggeberg
Resi- Karin Hautermann