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. But during intense confrontations with Elektra, Ms. van den Heever cut loose with steely outbursts that showed inner strength you don’t normally detect in the this character, making her seem, however fleetingly, like Elektra’s soul mate.The mezzo-soprano Michaela Schuster had a notable Met debut as the guilt-ridden Klytämnestra. Find The Metropolitan Opera on Facebook (opens new window)Find The Metropolitan Opera on Twitter (opens new window)Find The Metropolitan Opera on Instagram (opens new window)Find The Metropolitan Opera on Instagram (opens new window) The high C at the climax of this section on “Königliche” landed quite well and the ensuing G natural on “Siegenstänze” was even more visceral. 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. And this violent nature was borne out of most of the opera where we saw Goerke easily excitable and attacking other main characters, notably her mother Klytämnestra and Chrysothemis.Vocally Goerke was more of a mixed bag. Description Christine Goerke sings her first Elektra at the Met in Patrice Chéreau’s landmark production (see our article about it).More information is available on the official website of the opera house. It gave the character added dimension and a strong sense of internal conflict – she wants to help her sister and craves vengeance too, but she is not quite as extreme and won’t descend to the depths of murder to achieve those goals.As Klytämnestra, Michaela Schuster impressed mightily in her belated Met debut. Only death can set them free.The production’s most effective element, however, was its performers.As Chrysothemis, Elza van den Heever was a revelation and arguably the scene-stealer of the night. All the modernist elements of the music came through with slashing incisiveness and piercing sound, from the opening orchestral blast of chords that signal the motif of Agamemnon, murdered by his wife, Klytämnestra, and her lover Aegisth, and mourned every day with obsessive compulsion by Elektra, his daughter. His magnificent account of Wagner’s “Parsifal” This “Elektra” showed him at his best.
Her interpretation of the queen showcased her as rather weak and conflicted. Even Ms. Goerke, with all the thrilling power of her voice, was covered by the orchestra during some crucial outbursts.In every moment her courageous singing exposed the tormented nature of this mystifying character, who lives to avenge her murdered father. Met Opera on Demand delivers instant access to more than 500 Met performances, including Live in HD videos, classic telecasts and radio broadcasts. Mikhail Petrenko did possess a booming bass as Orest, but his singing throughout was not particularly varied in terms of vocal colors. 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. That isn’t to say that the playing was only effective when loud. Oktober 2018, 19:00 Uhr As Aegisth, Jay Hunter Morris’ tenor sounded opaque and unsteady. The opera’s grand finale soared without restraint. The lights go out in the Met auditorium and everything is black as the curtain rises. You might also enjoy Levine; Behrens, Voigt, Fassbaender, King, McIntyre He also holds a dual bachelor’s from Hofstra University in Film Production and Journalism.Opera is thriving. Every sound she uttered was ravishingly beautiful and she played up the legato singing that Strauss gives her character almost exclusively. Dienstag, 29. Not to mention that it all came with exquisite polish from the Metropolitan Opera Orchestra.