(Strauss: Capriccio). Bar. Poet in love with Countess Madeleine. He writes a sonnet for her birthday and is very upset when his rival, the composer Flamand, sets it to music. As they are both in love with the Countess, he was hoping that his words would impress her more than Flamand's music: Prima le parole—dopo la musica!, he says (‘First the words—then the music!’). This gives rise to an argument—to whom does the work now belong, the poet or the composer? Madeleine settles the argument—it is her present from them both and it now belongs to her. After Olivier leaves the château, he sends a message to the Countess via her Major‐domo—he will meet her at 11 o'clock the next morning in her library (exactly the same arrangement she has made with Flamand) in order to learn how the opera will end—in other words, does she choose the poet or the composer? Aria (the sonnet he has written): Kein andres, das mir so im Herzen loht (‘Your image in my ardent bosom glows’). Created (1942) by Hans Hotter.