The dramaturgy almost completely dispenses with a division into scenes and, in Wagnerian manner, does not allow for a break, to maximize the effect on the listener. It becomes clear as the circle of revenge sets in, condemning her and all around her to destruction. He asks for the way to Clytemnestra. Elektra (Music By Richard Strauss) English Subtitles - YouTube Her career preceded that of the Swedish soprano, and she was the only one who could compete with the Swedish soprano in terms of vocal power, even surpassing her. For this purpose she has kept the axe with which her father was beaten to death. 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. The ancient gods acting in this way become ordinary people dependent on the uncontrolled psyche and irrational obsessions. Only briefly does the music brighten as she imagines, as if in a trance, that her father is reappearing. Strauss used a kind of leitmotiv system in this opera, which extends over the entire score and is very complex in its structure. But after the composition of Salome the danger of another version of this opera seemed to be too great for him. Clytemnestra appears with her entourage. If only we had something to say about death, we might even believe in suicide in finding its fullness and peace. 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. Sung together by two Lithuanians further reflects this paradox – a sister commonality of the tragedy that unites them and at the same time a sharp difference in their perceptions of life. (Recognition scene). 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. The famous, surreal dance scene with the ecstatic music begins in the recording at 8:30 a.m. Elektra begs her to help with the revenge. Fortunately the work had progressed enough, to produce the film, which finally became a great monument. When they are gone, Elektra finds that she has forgotten to give Orest the axe. So, pre-programmed by parental relationships, losses, and bullying, Elektra is born. Appearing on stage with red heels and a pink disco costume, Chrysothemis creates the image of a confident, open woman. Accompanied by delicate string tones, she remembers her father. At the beginning of the action, the sharp eyes of the mythical Elektra shine at the end of the cave. Teasing 32th motifs make the sparkling of the stones audible. Elektra is overjoyed to see her brother again. Elektra urges her sister that now the sisters must commit the murder of her mother. The live recording at the Salzburg Festival with Mitropoulos was probably her best recording. Ob ich nicht höre (Finale) – Rysanek / Varnay. The mix of chamber theatre and giant orchestra leads to a peculiar tension. Her confidants warn her about the “wrong” Elektra, but she objects that their advice has brought no improvement. 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. 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. So far you can’t see or hear anything but in the air, you feel uncertainty, tension, threat. Love and triumph unite to the warmth of music that has never been heard before in this work. When Elektra listens to her mother’s monologue, the desire for life in her eyes is changed by emptiness and a wound that never heals opens. Orest is dead. The death of the mother does not suppress Elektra’s dependence on death and this time she chooses to commit suicide herself. A fourth space and time are formed by projections on a cold Felsenreischule rock. Two years later, Welitsch herself was to celebrate one of the greatest theatre triumphs of the 20th century as Salome at the Met (more about this in the opera portrait of Salome: https://opera-inside.com/salome-by-richard-strauss-the-opera-guide/#Ah. There her servants appear and whisper to her. With obvious pleasure Strauss composed the arrival of the amulet covered Clytemnestra. He drew the picture of two obsessed women, and the opera is virtually hostage to their traumatic states. Like Salome, Elektra is a one-act play. The younger Chrysothemis cannot understand and appreciate this. Synopsis: Clytemnestra is shocked. See this impressive scene from the Friedrich/Böhm film adaptation. She allows herself more feminine emotions than Elektra and dreams of the joy of life after having children. Three years after Salome, it was Elektra’s turn. However, the path from the end of life to death, which called for the murder of Klytämnestra and the suicide of Elektra, is arranged on stage in three spaces – a room of red glass in the murder room-container; in the sofa where Elektra commits suicide; and the murder of his father in a pool of water where he sometimes, as if a ghost from Hamlet, appears with a bloody head carved in, to see his daughter again. Elektra says that only Orest can make the sacrifice. In the last part of this monologue the music becomes martial and triumphant with her thoughts of revenge. The owner of the territory is a predatory and ruthless beast. 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. According to soprano Ausrinde Stundytė’s interpretation, the black puma Elektra is piercing her prey with her eyes – the audience. 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. Ich kann nicht sitzen und ins Dunkel starren – della Casa. Synopsis: Elektra recommends her to offer a human sacrifice to the gods. We listen to Astrid Varnay, who herself was one of the most outstanding representatives of the Elektra. It is said that the conductor together with the Vienna Philharmonic Orchestra, knows how to shell out the leitmotif system and encrypt the hidden meanings that R. Strauss’s music gives to the characters and their experiences. Hope also does not give up young Chrysothemis – she admits to hearing a circle of revenge by closing to reconciliation. When the black puma finishes his work, all that is left of the action scene is blood scores and razors. She describes her terrible nights in which her soul wishes to be dead and asks her for advice. Schwester! Since then she has been thinking of atoning for this blood act against her beloved father. But during the suicide scene, she’s happy. Chrysothemis is desperate, she suffers from the terrible situation of her family. Elektra tries to enchant her sister. Chrysothemis is paralyzed. Returning to the Salzburg Festival for the fourth time, another Lithuanian soprano Asmik Grigorian became the opposite of Elektra – her younger sister Chrysothemis, who is living with hope. Few operas can evoke such storms of applause at the end of a performance as Elektra. However, the main conflict in the opera is fulfilled with the appearance of a third person – the mother of the two, Klytämnestra. Your email address will not be published. Elektra is constantly on stage and is always the centre of the stage action. In 1909 the opera Elektra marked Strauss’s first collaboration with the Austrian poet and dramatist Hugo von Hofmannsthal. The tragic constellation of the family was staged by Polish director Krzysztof Warlikowski, who stands out for his ability to understand, feel the psychological connections between the characters, and aesthetically convey extremes. Shortly before the end of the production he died at the age of 87. Elektra remembers the cruel childhood memories that haunt her, these are simultaneously staged in a red room and broadcast in colorless projections. A powerful, frantic, and elusive sound, moving with a huge whim, creating and rippling along with Elektra’s breathing, heartbeats, and movements, opens up the alternating inner states of Electric. The symphony orchestra reflects the depth of the heroine invisible on the outside. Forty wind instruments and large percussion instruments literally “shout” the dissonances from the orchestra pit. It was somewhat slimmer in the middle register, yet glistening in the high register. With an aria-like singing in innocent major key she tries to persuade her sister to commit the cruel deed. Strauss was 44 years old when he composed Elektra in 1908 and was a peak of his carreer both as a composer and as a conductor. During the performance, the conductor’s face was sometimes reflected in flashes on the walls of the red glass room, testifying to the his masterful movements and actions. Clytemnestra is curious and wants to know more. The elder Elektra’s world does not reach the sunlight of life – the only comfort she finds in fantasies about her mother’s and her own death. In it, a major melody fights against a repeated minor triad, creating a spooky final effect of the opera. Due to the different spaces, the scene seemed inconsistent and crowded at first glance, but when the action began, its organic quality and persuasiveness were felt, giving the action more integrity and meaning. Brother Orest, performed by Australian bass-baritone Derek Welton, imprisoned in his grandmother’s knitted sweater, has a hard time choosing which family member’s angle to choose from in the triangle. In this way the listener is brought even closer to the inner world of the character; linked to its past, present, and future. Three years after Salome, it was Elektra’s turn. The color palette is established in the scenography during the murder of the mother Klytämnestra when the tension grown during the whole opera breaks down. whicht catapulted him into the avant-garde of the European music world. We hear this dramatic passage in the recording by Solti. 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. As a result, Director Krzysztof Warlikowski began the opera with a new prologue – surrounded by cicadas chirping and followed by the sharp Elektra as she eyes her mother Klytämnestra confess to the murder.