Conal Coad as La Roche in Capriccio. (Photo: Branco Gaica)

Capriccio is something of a connoisseur’s opera, in terms of both music and subject matter. What do you love about it, and what do you find challenging?

Capriccio‘s most challenging aspect for me is probably the subject matter. On first acquaintance, one thinks that it could so easily bore the pants off the audience. It is such an un-operatic opera. There is no death, gore, wronged hero or heroine, not even the ‘slap and tickle’ of a Baron Ochs  - simply a polite and elegant house party discussing whether the words or music in opera are more important. Such restraint on the operatic stage is certainly challenging. However, what I love about the piece appears as you start to inhabit your role, and discover how cleverly constructed this work is… How funny, and how beautiful. (Tougher for you who haven’t a part to sing, but this is an opera that will pay big dividends for the pupils who do their homework!)

The libretto is  extremely funny and one soon becomes aware that being a guest at this particular salon would have been a delicious afternoon. More importantly it is the music that delights with its sparkling melodies tied to the protagonist’s badinage. Melody is probably not as obvious as in most of Strauss’s work, but almost like Die Meistersinger there is a leitmotiv with a great love song, around which the melodic bones of the opera are formed.  It is a work that grows and grasps your attention as the party progresses… Make sure you stay for it all!

You’ve made a specialty of basso buffo roles in recent years. Was that a natural progression or a deliberate decision? Is there a particular art to that kind of comedy, and how does it compare to the more serious roles in your repertoire?

I suppose that I have indeed made a specialty of basso buffo roles. I fit the mould. As I get older and fatter I embrace these roles like members of my family. They charm me. I have always loved comedy on the stage and operatic comedy is a sly and tricky art. One that will only work successfully for you if you treat it seriously, with great attention to detail and never consider yourself as being “funny”. I find these roles far more interesting and challenging than the “serious” roles, where one concentrates primarily on pure vocal tone. They are slower musical experiences and although it’s always a pleasure to revel in the legato beauty of a Zaccaria, for me, returning to Bottom, Pasquale, and Dulcamara is like getting home after a holiday.

La Roche at one point casts himself as a basso buffo. Is that how you see him? How seriously should we take his great speech about the theatre – and just how challenging is that monologue to perform?

La Roche is a wily old fox with a very slick line of repartee. I like him a lot and agree with a surprising amount of his comment. He is quite capable of turning the tables on the Poet and Composer just to keep them on their toes. La Roche’s great monologue is a tongue in cheek response to Wagner’s Hans Sachs, the longest bass role in the repertoire. It is, naturally, a great vocal challenge since it is so long and also one of stamina: it progresses, steadily building, to culminate in the highest notes virtually at the end, ten minutes later. However, the speech has great variety and histrionic opportunity with a real vocal reward. A tremendous aria.

John Cox’s productions of Strauss operas are much acclaimed both here and overseas. Having worked with him on both this Capriccio and Arabella a few years ago, can you offer some insight about what makes him such a good Strauss director?

John Cox is probably the greatest Strauss director in the world. He brings an extraordinary knowledge of the piece, with virtually every role at his fingertips. In my opinion he brings amazing detail to his productions. I sang Bartolo in the UK recently in his wonderful production of Le nozze di Figaro, where he brought to his Mozart the same clarity and refinement that we see in his Strauss. It is like gazing through a window and seeing life portrayed naturally, rather than performers aware of their audience. Every tiny gesture is rehearsed again and again so that it blends into a seamless portrayal with almost nothing left to chance. He creates art on the stage.

Do you think the opera world has changed much since the time of Strauss and Krauss? Is the satire of Capriccio as spot-on now as then?

I think the world of opera has changed very considerably since Strauss and Krauss. The world of the salon where culture reigned supreme has been invaded by the advent of television. This has opened up entertainment, once restricted to the actual stage on which it was produced, to an audience of millions. However, with this advantage of accessibility has also come disadvantage, since it has lured people to stay by their own fireside (and possibly “dumbed” down the intellectual content.) The need to attend a production in person is no longer a necessity.

And finally: if you were Madeleine, what decision would you make?

If I was Madeleine, a dirty weekend in Deauville would probably be organised. However, if Madeleine was me, I think her planning would involve a new salon – with the latest young cultural “hotties” available…

Opera Australia’s production of Capriccio, starring Cheryl Barker as Countess Madeleine, continues at the Sydney Opera House until July 27th. Tickets and further information here.