Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works: Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics.
In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera.
Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1918), Die ägyptische Helena (1927), and Arabella (1932). For Intermezzo (1923) Strauss provided his own libretto. Die schweigsame Frau (1934), was composed with Stefan Zweig as librettist; Friedenstag (1935–6) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor.
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Famous quotes containing the word opera:
“The Opera is obviously the first draft of a fine spectacle; it suggests the idea of one.”
—Jean De La Bruyère (16451696)
“The opera isnt over till the fat lady sings.”
A modern proverb along the lines of dont count your chickens before theyre hatched. This form of words has no precise origin, though both Bartletts Familiar Quotations (16th ed., 1992)
“The opera house sparkled with tiers
And tiers of eyes, like mine enlarged by belladonna,”
—James Merrill (b. 1926)