Organization

Dyrygent

Ulf Schirmer

Śpiewak

Mezzosopran

Violeta Urmana

Klitemnestra

Sopran

Allison Oakes

Chryzotemis

Kristina Häger

Niosąca tren

Irene Roberts

Druga służebna

Catherine Foster

Elektra

Tanja Ariane Baumgartner

Flurina Stucki

Tenor

Clemens Bieber

Egist

Baryton

Tobias Kehrer

Orestes

Tyler Zimmerman

Piastun Orestesa

Gina Perregrino

Powiernica

Antonia Kim

Patrick Cook

Młody sługa

Stephen Bronk

Stary sługa

Kontralt

Annika Schlicht

Pierwsza służebna

Karis Tucker

Arianna Manganello

Trzecia służebna

Lexi Hutton

Czwarta służebna

Valeriia Savinskaia

Piąta służebna

Reżyseria

Kirsten Harms

Juraj Valčuha

Kostiumy

Bernd Damovsky

Scenografia

Choreografia

Silvana Schröder

Przygotowanie chóru

Jeremy Bines

Kirsi Tiihonen

Nadzorczyni

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Others

Choir of the Deutsche Oper Berlin

Ballet

Opera Ballet of the Deutsche Oper Berlin

niemiecki

Berlin

Niemcy

Poster

Public

Private

angielski

Approved

In a backyard shaft of the Mycenaean backyard palace, maids speak contemptuously about Elektra; she cannot get over the murder of her father Agamemnon, revenge her only desire. Only the youngest of the maids shows pity for her and is therefore punished. Elektra longs for the moment of vengeance, which she firmly believes will be carried out by her distant brother Orestes. Her sister Chrysothemis can hardly bear the existence of Electra and tries to protect her from her mother, who is up to something terrible. She wants to leave this terrible place with her to live in freedom. Her mother, Klytemnestra, has been tormented by nightmares since her husband was murdered and asks her daughter Elektra for help. During the conversation, a rapprochement between the two women seems possible; but when Klytemnestra apparently lies to her daughter about the whereabouts of her son Orestes, Electra's hatred breaks out again. The ambiguous answer to Clytemnestra's question about the remedy for the tormenting fears: You will no longer dream once the right sacrificial animal has fallen under the ax. Two strangers have come to report the death of Electra's brother Orestes. Elektra finally wants to commit the deed together with Chrysothemis. But she doesn't see herself in a position to do so. Determined to seek revenge, Elektra decides: "Well then, alone!" One of the strangers approaches her; dismayed by Electra's physical and mental state, he reveals himself: Orestes. He takes action - the death screams of Klytämnestra penetrate from within to the outside. Then Elektra lures Aegisth into the palace, where he too is killed by Orestes. Agamemnon is avenged. Nevertheless, Elektra remains unredeemed in the palace and dances herself to death.

“With all the dimensions of the score, ELEKTRA is a chamber play. My aim is not to create images of horror, but to make the horror vacui that people live in tangible. The line between passion and obsession is dangerously fluid. We experience this every day in world politics and in everyday life. What touches me about Elektra is the inability to mourn. She has forbidden herself to mourn and designed her life in such a way that no more mourning work can take place. Deep and existential feelings like pain need an outlet. Those who can grieve don't have to hate. The shocking thing about ELEKTRA is the devastating proportions that unquestionable behavior patterns can assume. Chrysothemis knows about the way out of the spiral of violence, but she cannot assert herself against her sister and free her from her mental imprisonment.

English

Elektra by Strauss, od (2022/2022), W reżyserii Kirsten Harms,, Dyrygent Ulf Schirmer, Juraj Valčuha, Deutsche Oper Berlin, Berlin, Niemcy

Udział w spektaklu (Obsada & realizacja )

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Załoga

Ensemble

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