Staatsoper Berlin, Season 2024725
“ELEKTRA”
Tragedy in one act, text by Hugo von Hoffmannstahl
Music Richard Strauss
Klytämnestra EVELYN HERLITZIUZ
Elektra IRÉNE THEORIN
Chrysothemis VIDA MIKVNEVICIUTE
Aegisth STEPHAN RÜGAMER
Orest LAURI VASAR
Der Pfleger des Orest DAVID WAKEHAM
Die Vertraute, die Aufseherin CHERYL STUDER
Die Schleppträgerin, Zweite Magd NATALIA SKRYCKA
Ein junger Diener SIYABONGA MAQUNGO
Ein alter Diener OLAF BÄR
Erste Magd BONITA HYMAN
Dritte Magd ANNA KISSJUDITH
Vierte Magd CLARA NADESHDIN
Fünfte Magd ROBERTA ALEXANDER
Staatsopernchor & Staatskapelle Berlin
Musical Director Simone Young
Director Patrice Chéreau revival director Peter McClintock
Set Richard Peduzzi
Costumes Caroline de Vivaise 
Light Dominique Bruguière, Gilles Bottacchi
Koproduktion mit dem Teatro alla Scala, dem Festival d’Aix-en-Provence, der Metropolitan Opera, New York, der Finnischen Nationaloper, Helsinki und dem Gran Teatre del Liceu, Barcelona
Berlin, 10 February 2025
Berlin opera goers know what they want, and at the Staatsoper’s Feb. 10, Elektra, they got it in a production of depth and finesse which grows better with time. When paired with soloists more than capable of meeting Stauss’ demands it makes for a memorable evening. The superb orchestra has lived with this piece for almost a decade, and under the expert hand of conductor Simone Young, delivered Strauss’ huge palette of sounds, from the delicate woodwinds of mad vulnerability to the huge climaxes of Elektra’s ecstatic collapse. Iréne Theorin sang with power, amplitude and her consistent high notes fully matched the orchestra. She also showed dynamic range with crescendi on long phrases and presented a powerful vocal portrait of a revenge obsessed protagonist. It is welcome to have such a voice for this character. The vocal production, while completely justified in this demanding role, seems reminiscent of Dame Gwyneth Jones in mid-career, and Theorin’s vibrato is a concern but did not distract from her ability to sing the entire evening and match the final orchestral climaxes. Evelyn Heritzius provided a striking characterization of Klytämnestra’s own brand of madness, using both a striking vocal color, textual clarity as well as physical and dramatic stage presence to present a compact portrait of conniving madness. Her offstage death scream was bone chilling. Stephan Rügamer’s convinced as Aegisth and his sound is ideal for the high penetrating tessitura of Strauss’ regal tenors. The Orest, Lauri Vasar, was stolid and entirely serviceable. As Chrysothemis, Vida Mikvneviciute seemed a bit pale but in such powerful company her character fit with the drama. The excellent supporting roles were crowned by the presence of the vastly experienced performers Cheryl Suder, Olaf Bär and the amazing Roberta Alexander at 75 a vocally souverain Magd in the opera’s musically and dramaticlyexcellent opening scene. All supporting roles consequential and consequentially sung,The set by Peter McClintock and the costumes by Richard Peduzzi and lighting of Dominique Bruguère, were somber but by no means monochromatic. They created visual interest, depth and levels and at the same time enabled and encouraged dramatic expression by the onstage performers. Stage Director Patrice Chéreau’s retelling of this ancient story was the last opera of his life and stands as a monument to his genius. Even the addition of the silent opening scene served to silence and focus the audience, which was rapt throughout. Barely a cough disturbed the power of stage and music. Photo Monika Rittershaus