elektra met opera 2018

But his overpowering vision lives on with soprano Nina Stemme—unmatched today in the heroic female roles of Strauss and Wagner—who portrays Elektra’s primal quest for vengeance. She stalks around the palace like an unkempt animal, say the servants who both mock and fear her.The scenes between Elektra and her sister, Chrysothemis, here the exciting soprano Elza van den Heever, were extremely moving. The genius director Patrice Chéreau (From the House of the Dead) didn’t live to see his great Elektra production, previously presented in Aix and Milan, make it to the stage of the Met. She has a massive instrument that carries throughout the hall with boundless resonance, especially in the lower range where she spends most of her time in this part. Am Mittwoch gibt es Jaques Offenbachs „Les contes d’Hoffmann“ zu sehen, am Donnerstag folgt Franz Lehárs Operette „The merry Widow“, ehe am Wochenende Verdis „La Traviata“ und Rossinis „La Cenerentola“ den Abschluss der Woche bilden. Richard Strauss’ “Elektra” returned to the Metropolitan Opera on Thursday, March 1, 2018, in a hotly anticipated revival of Patrice Chéreau’s production.Last time out, the production was a smash hit, its stripped-down sets allowing for the audience to focus on the violent drama put before us. Her interpretation of the queen showcased her as rather weak and conflicted. Renée Fleming’s breathtaking performance from Washington, D.C.’s historic Dumbarton Oaks estate—transmitted via satellite as part of Met Stars Live in Concert—is available for on-demand purchase through August 13, and for viewing until August 14 at noon ET.Enjoy the concert now!
Nightly Met Opera Streams During this extraordinary and difficult time, the Met hopes to brighten the lives of our audience members even while our stage is dark. And I was swept up in every moment of the rapturous, terrifying and moving performance.Peter Gelb, the Met’s general manager, has made some mistakes during his tenure. The intense, tormented one-act opera lasts just over 100 minutes. Mikhail Petrenko did possess a booming bass as Orest, but his singing throughout was not particularly varied in terms of vocal colors.

The lower level (and closer one) of the stage represent Elektra’s domain and her standing among the people in the “castle.” She is seen as lower and more grotesque than even servants and even has a hole in the ground from where she starts her opening monologue. Many have sung Elektra early in their careers and then sung nothing else.
Opera Online, the opera lovers' web site. On the evidence of her first night, she might split some.

The other major characters appear from the upper level, expressing the distancing from the eponymous figure of the opera.The grey and brown palette lends the environment a dirty feel that emphasizes the damaged internal world of the characters. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website.Levine; Behrens, Voigt, Fassbaender, King, McIntyre Die Streams können jeweils ab 19:30 Uhr EST (01:30 Uhr deutscher Zeit) auf der Diese Website benutzt Cookies. The recognition scene, where Elektra finally gets long, delicate legato lines carried well and for those moments, Goerke drew us in with more gentle timbre. The great singing actress Nina Stemme gives a heart-wrenching performance in the title role of Strauss’s blazing one-act drama, adapted from the ancient Greek myth. And when you least expect it, the orchestra screams with fury the famous opening light motif that comes to represent Agamemnon. The Metropolitan Opera is struggling right now, facing longstanding challenges like declining tickets sales and a shriveling donor base, as well … It was, beyond any doubt, his night.It’ll surely be interesting to see how Goerke’s interpretation evolves over the course of the run as it ultimately comes down to your experience of her portrayal that determines the satisfaction of the viewer. Weh ganz allein!” As that section reached the climax, in which Elektra swears to dance on the grave of her transgressors, Goerke initiated a ritualistic stomping of feel; the “dance” was more vicious and out-of-control. The clarion and powerful bite it once had when he was the reigning Siegfried not so long ago seems to be gone.At the end of the day, however, this opera comes down to one person.In the lead role, Christine Goerke embodied Elektra physically quite potently. van den Heever’s melting, plaintive singing conveyed the character’s fragile emotions beautifully.

There was arguably no passage more glorious than “Kinder will ich haben.” She stood up to the more wildly unpredictable Elektra throughout the night, never pulling away from a fight. Enjoy a free 7-day trial! In an opera that almost always seems to be in a hurry (try following the score with any recording and you’ll know what I mean), this relaxation was simply awe-inspiring. It continues to work in that vein, though its overall stillness might not {…}



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Goerke has already performed the role 11 times since September in productions at But that isn’t to say that the soprano wasn’t a force in some moments. Nézet-Séguin; Goerke, van den Heever, Schuster, Hunter Morris, Petrenko As an audience member, you are constantly waiting for the music to start in an opera and the increased silence generates more and more tension.

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