In the last part of this monologue the music becomes martial and triumphant with her thoughts of revenge. Elektra remembers the cruel childhood memories that haunt her, these are simultaneously staged in a red room and broadcast in colorless projections.
This common force, reminiscent of an electrified puma, does not let a tense listener out of its jaws for a moment.
Strauss wrote a dazzling music to this long monologue of Elektra, one of the highlights of the opera. She is tormented by the thoughts of her father’s murder. Strauss was fascinated by the story and he suggested the creation of a libretto, when he swa a magnificent production of Max Reinhardt’s together with Hofmannsthal in 1903. He had completed Salome a few years earlier. Accompanied by delicate string tones, she remembers her father. Elektra says that only Orest can make the sacrifice. Appearing on stage with red heels and a pink disco costume, Chrysothemis creates the image of a confident, open woman.
Although it was quickly performed in many opera houses, the reactions remained mixed.
Klytämnestra is wearing a bright red dress with colorful matching necklaces. 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. With the latter work Strauss began a long and fruitful association with the poet and dramatist Hugo von Hofmannsthal as his librettist.
After less than 2 hours Singer and the audience are both exhausted and the stage curtain falls. Only briefly does the music brighten as she imagines, as if in a trance, that her father is reappearing. Her soprano was not that of a classical highly dramatic Soprano. Your email address will not be published. Each of them drowns in their personal tragedies, losing their minds, identities, and lives along the way. DG with Leonie Rysanek, Astrid Varnay, Caterina Ligendza and Dietrich Fischer-Dieskau under the direction of Karl Böhm and the Vienna Philharmonic Orchestra; directed by Götz Friedrich. A poignant scene takes place. Synopsis: Feverishly Elektra digs up the axe. Seeing the panic in his face and movements, it becomes clear that this is how he is trying to escape from himself. When they are gone, Elektra finds that she has forgotten to give Orest the axe.
The puma injects its teeth into the bone marrow.
Synopsis: Elektra learns the reason for this from her sister who has hurried to her. He drew the picture of two obsessed women, and the opera is virtually hostage to their traumatic states. Concluding the opera with two repetitive screams Chrysothemis summoned by her brother, the truth opens before her eyes that the exterior of strong femininity she has formed can no longer protect her from what she is feeling now. The puma of R. Strauss’s music on this night was painted by the hands of conductor Franz Welser-Möst.
After killing his mother with his own hands, Brother Orest breaks away and escapes steeply from the stage, interfering with the audience. At the beginning of the action, the sharp eyes of the mythical Elektra shine at the end of the cave.
It is only through their interaction that their identities are formed, and this tension stirs the action on stage. 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. Suddenly the death cry of Klytämnestra is heard in the house. Day Night, Sun Moon, Life Death, Elektra and Chrysothemis. Finally Strauss recognized that the material offered him exactly the scenes he needed for his music and he set to work.
The motifs are constantly subdivided, layered and altered, repeatedly leading to a kind of polyatonality where major chords collide with minor chords. 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. 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. They do not communicate, as night never merges with day, and a living person cannot understand death.
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. 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. The orchestra whips Elektra relentlessly as the shameful murder takes place before her eyes.
Elektra! whicht catapulted him into the avant-garde of the European music world. Forty wind instruments and large percussion instruments literally “shout” the dissonances from the orchestra pit.
Chrysothemis is desperate, she suffers from the terrible situation of her family. The mother laughs when she hears about the death of her son. See this impressive scene from the Friedrich/Böhm film adaptation. The singer has stated that she feels intimate with the character, perceiving her as a broken sobering soul. No other character, not even Salome or Lady Macbeth, has ever been set in such excessive musical tones in her obsession and drive. ein Heldenleben/A hero’s life) and with his Salome. The Solti recording is one of Birgit Nilsson’s great recordings. He has purposefully written individual passages in harmonious euphony, including the role of Chrysothemis and Elektras recognition scene.
At the heart of the tragedy is Elektra.
“Love kills everyone, but no one leaves this world without knowing love,” are her words, the last reverence to her father. She describes her terrible nights in which her soul wishes to be dead and asks her for advice.
He enters the house and is killed by him. Solti’s approach from the 1960s was perceived as musically brute, and the Vienna Philharmonic Orchestra, together with Elektra Birgitt Nilsson, took this approach without compromise. Elektra is overjoyed to see her brother again.
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