According to soprano Ausrinde Stundytė’s interpretation, the black puma Elektra is piercing her prey with her eyes – the audience.
Organically united with R. Strauss’ s fierce music, which is no less threatening, this opera becomes a real predator, threatening to inject its teeth into the audience in an instant. Three years after Salome, it was Elektra’s turn. Fortunately the work had progressed enough, to produce the film, which finally became a great monument.
When the black puma finishes his work, all that is left of the action scene is blood scores and razors. However, he went far beyond the antique model when designing the personalities of the leading roles. Now the whole house is on its feet and hears about the crime. With the 1911 premiere of their second opera together, Der Rosenkavalier, they achieved a…, …German by Hedwig Lachmann) and Elektra (1909). Day Night, Sun Moon, Life Death, Elektra and Chrysothemis.
Strauss wrote the music and Hofmannsthal the libretti for five more operas over the next 20 years. Elektra is overjoyed to see her brother again. The mix of chamber theatre and giant orchestra leads to a peculiar tension. In it, a major melody fights against a repeated minor triad, creating a spooky final effect of the opera. The orchestra whips Elektra relentlessly as the shameful murder takes place before her eyes. We hear a recording from the magnificent film adaptation by the director Götz Friedrich and the conductor Karl Böhm from 1981. The myth of Elektra brought to the surface his fears about complex and ambiguous family relationships – these settled in every beat of the opera he was composing at the time. Accompanied by ghostly bass sounds, Orest makes his way to Clytemnestra’s bedroom. For this purpose she has kept the axe with which her father was beaten to death. He sees women in three different positions being interdependent. Elektra believes none of this. Ich kann nicht sitzen und ins Dunkel starren – della Casa. We listen to Astrid Varnay, who herself was one of the most outstanding representatives of the Elektra. Entering the dark Felsenreitschule hall of the Salzburg Festival, carved into the rock of a mountain, you feel uncomfortably crammed inside the mountain – in a terribly unfamiliar space that hides something in the distance of the stage.
The director mentioned that in each century the Myth of Elektra is imitated again and in the 20th century it has become the embodiment of psychological extremism. Servants do their work at the draw well. Strauss took this work to the limits of tonality and explicitly described this Clytemnestra scene as the closest point towards atonality. Elektra urges her sister that now the sisters must commit the murder of her mother.
He asks for the way to Clytemnestra. After killing his mother with his own hands, Brother Orest breaks away and escapes steeply from the stage, interfering with the audience. In no other opera did Strauss go further musically than in Elektra.
The result was a text that was kept incredibly gloomy, one can almost speak of a study of human abysses. Synopsis: When Elektra appears, the maids disappear. Despite anything, it was a moment of her dream come true.
We hear the scene in a second version: Inge Borkh and Lisa della Casa as Elektra and Chrysothemis were a dream couple at the Salzburg Festival in 1957. As a result, “Elektra” also foretells discoveries in the field of psychoanalysis – as early as 1913, on the basis of this antiquity, the Elektra complex (the female equivalent of the Oedipus complex) was formed, based on Z. Freud’s insights into toxic repressed passions in family relationships. Wild and grotesque music accompanies the appearance of Clytemnestra. Elektra! Suddenly, a hysterical laughter sounds from her mouth.
The transparent and resounding triumphant voice of Grigorian perfectly revealed the character’s faith in the future. In 1909 the opera Elektra marked Strauss’s first collaboration with the Austrian poet and dramatist Hugo von Hofmannsthal. From the beginning, enslaved by tragic circumstances, their lives seem long overdue. The respective main characters Elektra/Salome, Clytemnestra/Queen and Aegisth/Herod are soulmates in terms of content and music and the plot shows great parallels.
But her sister refuses. The puma of R. Strauss’s music on this night was painted by the hands of conductor Franz Welser-Möst. “I don’t conduct sugar water”, the young Otto Klemperer let the audience know, and Strauss soon had to painfully realize that he was counted among the conservatives. In this production, the interpretations of these pain-stricken family members are more human, and on an emotional level, each of them is very sensitive. Trios or quartets hardly ever occur, and choir performances are rare. Shortly before the end of the production he died at the age of 87. The rougher timbre of the soprano created an incredibly expressive and assured vocal interpretation of Elektra. Aušrinė Stundytė & Asmik Grigorian Shine As Audience Trapped by ‘Charged Puma’ of Strauss’ Vibrant Masterwork. She herself has claimed to be too “respectful of the stage and the audience to offer them less than she can give.” The boundless stage and voice expression convinced everyone who listened to this.
The live recording at the Salzburg Festival with Mitropoulos was probably her best recording. The heroine of Grigorian remains alone in the dead house and the lights dim completely, relentlessly silencing the further fate of this character. The predatory eyes reflect the poisonous personality of Elektra, blending fierce hatred with bitter cynicism, acid jealousy, and tasteless emptiness. Many years ago her mother and her lover Aegisth brutally beat her father to death in the bathroom of the house. But during the suicide scene, she’s happy. If only we had something to say about death, we might even believe in suicide in finding its fullness and peace. She is ashamed before him that she has sacrificed her youth and beauty for the years of grief. This common force, reminiscent of an electrified puma, does not let a tense listener out of its jaws for a moment. Synopsis: In the courtyard of Clytemnestra’s palace in Mycenae. With obvious pleasure Strauss composed the arrival of the amulet covered Clytemnestra. For Inge Borkh the role of Elektra was the role of her life, she can be heard on 6 total recordings! Its music and its leading role is unique in opera literature, and Strauss, the great tone painter, was able to go to the limits of his time with this music.
LA FILLE DU REGIMENT by Gaetano Donizetti – the opera guide and synop... SIMON BOCCANEGRA by Giuseppe Verdi – the opera guide and synopsis, Ich kann nicht sitzen und ins Dunkel starren, https://opera-inside.com/salome-by-richard-strauss-the-opera-guide/#Ah. ein Heldenleben/A hero’s life) and with his Salome. Not surprisingly, due to the angle and personality of the new approach, listeners today are shocked by the naked, uncontrolled expression of emotion that contrasts with what the viewer often does not want to see. We do not see the murder on stage, but only hear a Clytemnestras frightened cries, shrill wind instruments and the rattle of the dying Clytemnestra.. Ich hab ihm das Beil nicht geben können – Borkh / Schech. She wants to be alone with her daughter and sends her confidants away . Elektra is shocked, because she hoped Orest would come back to take revenge. While composing the music for “Elektra,” R. Strauss experienced a personal family tragedy – when his father died, he saw his mother psychologically shattered.
Except for the opening scene, we hear mainly monologues and duets. Few operas can evoke such storms of applause at the end of a performance as Elektra. Along with Birgitt Nilsson, the Norwegian was the most famous of the highly dramatic sopranos of the twentieth century. Synopsis: Her eyes are disfigured by the lack of sleep and her body is covered with amulets that are supposed to protect her from the curse of the nightmare. Following in the footsteps of hot and sticky revenge, the family kills themselves in the opera finale. However, the main conflict in the opera is fulfilled with the appearance of a third person – the mother of the two, Klytämnestra. When a family is hit by a tragedy, they find themselves on different sides of the same coin. Three years after Salome, it was Elektra’s turn. The eyes of an electric predator flash when she turns to the audience excited and incites the beast: “stab again!” The predator attacks and at that moment the breathing of all the listeners probably stops. When they are gone, Elektra finds that she has forgotten to give Orest the axe. Synopsis: Clytemnestra is shocked.
Strauss wrote a dazzling music to this long monologue of Elektra, one of the highlights of the opera. The red room suddenly blindly darkens and turns black. Her music is tonal and soft and the melodies are tender. The audience did not release the black puma from the mountain for a long time, challenging R. Strauss himself with the intensity of their applause. He is dismayed how Clytemnestra let her daughter suffer. Chrysothemis appears and triumphantly tells of the appearance of Orest and the revenge killing. (Elektra’s monologue), ♪ Ich kann nicht sitzen und ins Dunkel starren, ♪ Ich habe keine guten Nächte (Clytemnestra’s monologue), ♪ Elektra! And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. Stundytė Elektra was more feminine and more vulnerable than in previous interpretations of this role. Each of them drowns in their personal tragedies, losing their minds, identities, and lives along the way. DECCA with Birgit Nilsson, Maria Collier, Gerhard Stolze and Tom Krause under the direction of Georg Solti and the Vienna Philharmonic Orchestra. She describes her terrible nights in which her soul wishes to be dead and asks her for advice. When asked who should be the victim, Elektra says the mother herself should be.
Orest is dead. Forty wind instruments and large percussion instruments literally “shout” the dissonances from the orchestra pit. Appearing on stage with red heels and a pink disco costume, Chrysothemis creates the image of a confident, open woman. Suddenly the death cry of Klytämnestra is heard in the house. His studio recording with the Vienna Philharmonic Orchestra occupies a special position in the discography. The sound only exacerbates their depth, paradox, and complexity.
With the latter work Strauss began a long and fruitful association with the poet and dramatist Hugo von Hofmannsthal as his librettist. With Elektra, Strauss consolidated his reputation as a leading composer of the avant-garde, which he had earned with his symphonic music (e.g. Again and again she dreams that she is being beaten to death by her son Orest, whom she banished from her house when he was still a child. Strauss used a kind of leitmotiv system in this opera, which extends over the entire score and is very complex in its structure. Mourning and revenge become her only consolation. The mother laughs when she hears about the death of her son. The disciples of the avant-garde idolized their epigones, but also quickly dropped them again, which Strauss had to experience two years later when he composed his (nostalgic) Rosenkavalier. He has learned of Orest’s death and wishes to speak to the messenger.
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