United Kingdom Richard Strauss, Elektra: Soloists, Refrain and Orchestra of the Royal Opera Home / Sir Antonio Pappano (conductor). Royal Opera Home, Covent Backyard, London, 15.1.2024. (JR)
Manufacturing:
Director – Christof Loy
Set – Johannes Leiacker
Lighting designer – Olaf Winter
Costumes – Heidi Hackl
Lighting – Jürgen Hoffmann
Refrain director – William Spaulding
Solid:
Klytämnestra – Karita Mattila
Elektra – Ausrine Stundyte
Chrysothemis – Sara Jakubiak
Ägisth – Michael Workman
Orest – Łukasz Goliński
Orest’s companion – Michael Mofidian
Overseer- Lee Bisset
First maid – Noa Beinart
Second maid – Veena Akama-Makia
Third maid – Gabrielė Kupšytė
Fourth maid – Ella Taylor
Fifth maid – Valentina Puskás
Confidante – Marianne Cotterill
Trainbearer –Amanda Baldwin
Younger servant – Michael Gibson
Previous servant – Jeremy White
There have been a lot of the reason why this explicit efficiency (the second in a run of six) underwhelmed and did not pack a punch. Experiences from the gown rehearsal had been encouraging, however the critics on the opening night time all commented on Nina Stemme’s wrestle with the highest notes. Is her voice now ‘battle-worn’ as one critic put it final 12 months after her Wigmore Corridor recital. If Stemme returns after her indisposition, we will see and listen to.
All credit score to Lithuanian soprano Ausrine Stundyte for making her debut at Covent Backyard by stepping in for this efficiency at very brief discover. Fortunately Stundyte had walked by way of the manufacturing when Stemme injured her wrist in December. Stundyte isn’t any stranger to the function, having sung it in Vienna, Salzburg, Hamburg and Antwerp. (Additionally a few 12 months in the past Stundyte sang Elektra for Pappano in Rome, and you’ll learn a evaluate of the live performance right here which additionally offers a number of the story of Strauss’s opera.) Nonetheless, Stundyte is kind of totally different to Stemme, extra Tosca (which she sings at Covent Backyard for the first-time subsequent month): her interpretation is extra fragile, she has much less quantity than Stemme in full cry, however offers the character extra tenderness and vulnerability. There isn’t a doubting Stundyte’s capability to hit the highest notes; however for those who like your Elektra bloodcurdling, thrilling and deafening, then this isn’t the manufacturing nor – for essentially the most half – the singers for you.
Antonio Pappano appeared to be maintaining his huge orchestral forces at bay to compensate, maybe, for Stundyte; or is his view of the work much less modernistic, preferring to focus on the numerous tender passages. Christof Loy, within the programme notes, stresses his view of the opera as extra about love than blood-thirsty revenge and savage dying. Actually, the popularity scene and the bonding between the 2 sisters was most affectionate and affecting.
Having to position a number of the bigger, noisier percussion in some stalls packing containers doesn’t assist with the acoustics; I felt the timpanist was quite reticent and trod cautiously all through.
Karita Mattila seemed the half in a blue ball robe, jewel-bedecked. Hers was not essentially the most venomous portrayal of Klytämnestra (Christa Ludwig got here to thoughts), however definitely one of the crucial visually glamorous. Vocally, Mattila’s decrease register retains its creaminess. Her company within the mansion had been members of Vienna’s excessive society, her servants had been parlour maids.
The vocal star of the night time was, no doubt, American soprano (of German and Polish descent) Sara Jakubiak as Chrysothemis. To be honest, Richard Strauss offers this function essentially the most enticing melodic traces in an in any other case bleak, unrewarding, demanding rating.
I used to be additionally mightily impressed by Polish bass-baritone Łukasz Goliński’s wealthy, sonorous bass as Orest – his ‘wir habe einen Auftrag’ was chilling.
Minor roles had been all passable, however none actually caught the ear. Clear German diction was variable throughout the board; except for Jakubiak.
Johannes Leiacker’s set was boring, most likely intentionally so. We’re in Vienna, on the time of composition of the opera, so round 1910. The set depicts the darkish and grubby tradesman’s again steps of a mansion on the Ringstrasse, solely a lit higher hall giving the trace of a celebration up above. No rivers of blood, no hints of any sacrifices, even the tried rape by a member of the haute volée of a maidservant appeared hesitant.
The orchestra performed with distinction, fittingly as that is Pappano’s final new manufacturing as Music Director of the Royal Opera earlier than he strikes to the London Symphony Orchestra.
Elektra ought to knock you again, shocked. This efficiency didn’t.
John Rhodes
