Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Reviews

Anne Schwanewilms as Chrysothemis and Susan Bullock as Elektra [Photo by Clive Barda]
13 Nov 2008

A powerful, poignant Elektra at the Royal Opera House, London

“This won’t be a total Schlacht of sound” said the director, Charles Edwards, of this production. Instead, it’s a strikingly intelligent interpretation, focusing on the deeper aspects of the drama.

Richard Strauss : Elektra

Susan Bullock (Elektra), Anne Schwanewilms (Chrysothemis), Jane Henschel (Klytemnestra), Johan Reuter (Orestes), Frank van Aken (Aegisth), Frances McCafferty, Monika-Evelin Liiv, Kathleen Wilkinson, Elizabeth Woollett, Eri Nakamura (Maids) Charles Edwards, (Director, Design and Lighting), Mark Elder (Conductor), Orchestra of the Royal Opera House, London.

Above: Anne Schwanewilms as Chrysothemis and Susan Bullock as Elektra [Photo by Clive Barda]

 

Despite his extensive experience, this is Mark Elder’s first Elektra. He was adamant that the characterization should reflect the music. Elektra’s part is surprisingly tender at times. Twisted by fate, she’s become wild, but beneath the madness still lurks the real woman Elektra might have been. This makes her tragedy all the more poignant. The real drama here doesn’t lie in decibels. Orchestrally, this was superb. Elder understands the inner dynamic of the music, grasping the fine detail sometimes lost in the vast sweep. Harsh, dry percussion punctuates the beating of the maids. They, too, are victims of the brutal regime. The fifth maid, who protests, is destroyed, as Elektra will be. The playing was so well judged that this would have made a superb recording, even without the visuals.

Yet what visuals ! A monstrous Bauhaus monolith is set at an awkward angle against a Greek temple. These architectural fault lines remind us that Elektra is powerful political commentary. Klytemnestra murdered Agamemnon to seize his kingdom, but she can’t enjoy power, her nightmares pursue her. Elektra is duty bound to avenge her father, but she’s irrevocably warped by it, and cannot live past retribution. As for Orestes, who will now be king ? Neither Strauss nor von Hofmannsthal make this explicit in the opera, but they knew, and their audiences knew, Orestes continues to be punished by the Gods. This production was conceived at the start of the Iraq war although it references that turning point in European history, just before the collapse of the Austrian, German and Russian empires. If anything, recent events like the failure of the banking system, reinforce the point that power is an illusion, easily destroyed. Nothing’s stable : Aegisth whirls round, dying, in a revolving door.

In this palace, family values are dysfunctional. There are disturbing sexual undercurrents in all relationships. Perceptively, however this production doesn’t play up the kinkiness, but places it firmly in the context of the power crazed society around the palace. Everyone is trapped in this brutal situation. Hence the production accentuates the importance of the maids and subsidiary characters, expanding them as silent roles.

Susan Bullock as Elektra is outstanding. Because this interpretation makes her sympathetic, Bullock can develop the more subtle aspects of Elektra’s personality. She’s no screaming mad harpie. There are many traces of the woman she might have become. She mocks the maids for having children, yet understands why Chrysothemis wants babies. The dynamic between Elektra and Chrysothemis (beautifully realized by Anne Schwanewilms), is lucidly defined. “Ich kann nicht sitzen und ins Dunkel starren wie du “, cries Chrysothemis. It helps explain why, at her moment of triumph, Elektra deflates. She has nothing to sustain her but vengeance and must die when she achieves it. Her final dance is slow, barely perceptible, as if she’s sinking into the very ground, carrying the “burden of happiness” which no longer has meaning.

Elektra_ROH_002.pngA scene from Elektra [Photo by Clive Barda]

Orestes is the finest part I’ve seen Johan Reuter play so far, and it suits him well. So much more can be made of Klytemnestra and Aegisth than Jane Henschel and Frank van Aken presented, but in theatrical terms this was no real loss, as it didn’t pull focus away from the sisters and Orestes, and the wider drama around them. Rarely does lighting merit a mention, but this time it was exceptionally effective. Agamemnon features prominently as a silent role, his “ghost” projected onto the walls of his palace. When Elektra sings to Orestes of “Der milchige des Monds”, a faint, but persistent light shines on the corrugated panoply above her. It’s a tiny detail, easily missed, but that moment of beauty throws the tragedy into high relief. This Elektra becomes more profoundly moving, the more it unfolds.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):