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Elektra-fied

In Classical Music, Opera, Richard Strauss on May 2, 2016 at 11:15 am

 

Review – Elektra (Metropolitan Opera HD Live Broadcast, Saturday 30 April 2016)

Elektra – Nina Stemme
Chrysothemis – Adrienne Pieczonka
Klytmänestra – Waltraud Meier
Orest – Eric Owens
Aegisth – Burkhard Ulrich
Fifth Maid – Roberta Alexander

Director – Patrice Chereau/Vincent Huguet
Set Designer – Richard Peduzzi
Costume Designer – Caroline de Vivaise
Lighting Designer– Dominique Bruguière

Orchestra of the Metropolitan Opera
Esa-Pekka Salonen (Conductor)

It’s rare to get that feeling, when attending an opera or a concert, that you are witnessing greatness. Even rarer to think you are witnessing history. And almost impossible to consider it happening over a live HD broadcast.

The Metropolitan Opera’ s production of Elektra managed all three. Perfectly.

There was literally a musical convergence – an alignment of incredible talent, inspired staging and direction and outstanding music making. And the gravitational force that pulled it all together was Nina Stemme. And she has done this before – at the Proms.

This Elektra undoubtedly establishes her as one of the greatest dramatic sopranos ever. It was a performance of complete commitment and with the close-up afforded by the broadcast, of super-human, searing intensity. Vocally she was superb and compelling, creating emotional shock wave after shock wave, portraying Elektra with a full spectrum of conflicted feelings – revenge, love, hope and despair. Her voice has never sounded better, deploying a full range of colour and dynamics combined with astute musical intelligence in terms of phrasing, articulation and most importantly, a focus on the words.

As her sister, I can think of no better Chrysothemis than Adrienne Pieczonka. Her music is as difficult and formidable as her sister’s. It requires a soprano who can quite literally soar above the orchestra and Ms Pieczonka was vocally resplendent. Her soprano gleamed and shone brightly, but she tempered it brilliantly, shading the music to truly reflect this character’s vulnerability.

Waltraud Meier completed the trio of women of House Atreus. This was not a queen racked by fear and guilt – well not all the time – but one very much in control and unrepentant. It built on her portrayal in Dresden. From her first entrance, striding onto the stage, to the moment when her maid gives her the letter about Orest, Meier created a role that was more even in its emotional spectrum rather than relying on and wallowing in extremity. The humanity of her relationship with Elektra – stroking her hair as if reliving happier times – was especially poignant. Her was also a masterclass in the marriage of music, meaning and diction. Each phrase perfectly placed, every word loaded with emotion.

The men – Orest and Aegisth – were brilliantly supportive of the three women. Owens’ detachment seemed fitting but did mean than vocally he wasn’t as compelling as the Orest of the Tobias Lehrer I recently heard in Berlin.

But the surprise of the production was the Fifth Maid of none other than Roberta Alexander. I did not realise it was Ms Alexander until after the broadcast, but from her very first note it was a performance that made everyone sit up and listen. There was a keenness and precision to her portrayal the likes of which I’ve not witnessed in this role before.

Chereau’s production – first seen in Aix – only made me wish that I had seen it live. It also made me realise, at a time when good directors seem to be lacking, we have lost someone of incredible talent and insight.

This was an Elektra full of humanity and colour – finally an Elektra not deluged in blacks and greys. His attention to detail, not only of each character but how they related to and acted with each other also stood out. How a servant stepped intervened to protect Ms Alexander’s Fifth Maid. How the maids doubled as the Queen’s advisers. The desperate attention Chrysothemis paid to the young man. And at the end, Orest’s departure and Elektra’s retreat into a catatonic state.

Theirs wasn’t a victory but total and utter defeat.

While it’s hard to gauge the orchestra filtered through HD, they undoubtedly were magnificent, not for the lush to harsh sounds they produced as required but for the way they clearly responded to Salonen in the pit. His conducting brought out the very best of the score from its rhythmic vitality to its surging romanticism.

Even thousands of miles away, sitting in the dark, this Elektra was a complete privilege.

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