It has a few longueurs, but the thing about Capriccio is that it's not really about the characters, it's about Opera itself, and (like all opera), it's artificial.

The whole thing is full of in-jokes (including a not-so-subtle swipe at Italian opera singers). The Count regards opera as ridiculous (and some of Strauss's own opera subjects are quoted, discussed and rejected), but it's finally agreed that an opera about the events of the day is the one that ought to be written - and so it is, it's the one that we're watching - wheels within wheels. La Roche insists that he must have a grand exit - but his exit is, in fact, neither here nor there. The Countess asks whether it's possible to have an ending that isn't trivial - no, it isn't - the Major-Domo announces that it's time for supper!

My favourite character is Monsieur Taupe, the mole.

[This message has been edited by Andrew (edited 04-24-2011).]