Elektra at the MET
This production of Elektra will go down in the annals of the MET as one of the high points of Peter Gelb's tempestuous tenure at Lincoln Center. Directed by the late Patrice Chéreau, with a cast that includes Adrianne Pieczonka (Chrysothemis), Waltraud Meier (Klytämnestra), Eric Owens (Orest), and in the title role the great Nina Stemme. One can travel far and wide and not find this collection of talent on any operatic stage.
This staging started life at the Aix en Provence Festival in 2013 with Mr. Salonen conducting. Evelyn Herlitzius played the title role, and Ms. Pieczonka and Ms. Meier originated the roles that they are reprising currently at the MET. That performance was captured on film and is available on Blu-Ray/DVD.
Mr. Chéreau's concept updates the Sophocles play to the present, making it the story of a truly dysfunctional family, which in many ways is exactly what the original drama really is. Clytemnestra sore that her husband Agamemnon sacrificed their daughter Iphigenia so that his ships could sail to Troy, kills him upon his return from the Trojan War. Elektra now mad at her mother for having killed dad, dreams of the day when her brother Orestes will return home, kill their mom and her new lover and thus avenge her father's death. The Waltons it is not! But if you want to experience some powerful cathartic moments, this one has it in spades.
In the opera, the character of Elektra promises in her great opening monologue ("Allein! Weh ganz allein") that she will dance once her mother has been killed, and in this production Ms. Stemme attempts to kick up her heels, but she just can't. It's as if the character had suffered for so long that her joints are stiff. Just one of the many innovative moments in Mr. Chéreau's wonderful re-imagining of this work.
The Metropolitan Opera Orchestra continues to be the well-oiled machine that James Levine created, and they played magnificently. This has always been one of my favorite scores which, like the earlier controversial Salome, can go from crashing dissonant chords to the sweetest most beautiful melodies. The stamp of the 20th century is definitely on this Strauss work, but scratch its surface and the Viennese waltz is there throughout the entire work.