Intermezzo

by Richard Strauss (1864-1949). Bürgerliche Komödie mit sinfonischen Zwischenspielen in two acts. 1923.
Libretto by the composer.
First performance at the Staatsoper, Dresden, on 4th November 1924.

Storch and his wife are packing and she continues to nag him, reminding him of her higher social status. She tells her maid that she would prefer it if he stood up to her. She is invited to go skating and there collides with a young man of whom she makes much, when she discovers that he is Baron Lummer. At an inn Christine and Lummer dance. At home again Lummer visits her and tells her of his wish to study natural history, not law, which is what his family wants. She promises her husband's support. An important instrumental interlude, one of twelve interludes in the opera, leads to a scene in the Baron's room, where he complains about Christine's interest and demands on him, but ends by writing to ask for money. At the Storch's Lummer's demand for a thousand marks is rejected by Christine, who again assures him of her husband's help in his proposed studies. She is handed by the maid a letter for her husband from a woman asking for opera tickets and writes to her husband declaring that she is leaving him. The first act ends with Christine in her son's bedroom. Franzl thinks she is to blame, but she again claims to be better than her husband. The second act opens with a game of skat, with Storch's friends discussing his pleasant character and the unfortunate temper of his wife. Christine's telegram is handed to Storch and he goes out. At the notary's Christine demands a divorce on the grounds of her husband's infidelity. Storch wanders about distraught, until Stroh meets him and tells him the original message must have been intended for him, since their names are similar. At home Christine continues her anger with everyone, and Stroh comes to her to explain the confusion. When Storch returns home, his wife continues to nag him, forcing him to stand up to her and to express jealousy of Baron Lummer. All ends in reconciliation.

Strauss based his opera on his own life and marriage. In form it is a series of short scenes, separated by instrumental interludes. In the libretto he paints a picture of himself as gentle and reasonable and of his wife as an unreasonable shrew. Stroh was the conductor Josef Stransky, with Strauss's son and their maid under their own names. This autobiographical creation follows the programmatic Sinfonia domestica of 1903. The best known of the twelve instrumental interludes is that which ends the first act.