Admin

Oper Köln

Regisseur

Regisseur (+1)

Roland Schwab

Set designer

Set designer (+1)

Piero Vinciguerra

Kostuum ontwerper

Kostuum ontwerper (+1)

Gabriele Rupprecht

Licht ontwerper

Andreas Grüter

Koor meester

Koor meester (+2)

Rustam Samedov

Dramaturg

Stephan Steinmetz

Sopraan (+1)

Allison Oakes

Elektra

Tenor (+5)

Martin Koch

Aegisth

Sopraan (+2)

Tinka Pypker

Die Schleppträgerin

Sopraan (+5)

Claudia Rohrbach

Die Aufseherin

Mezzosopraan (+4)

Adriana Bastidas-Gamboa

Erste Magd

Mezzosopraan (+2)

Tina Drole

Dritte Magd

Sopraan (+3)

Maria Koroleva

Vierte Magd

Sopraan

Emily Hindrichs

Fünfte Magd

Orchestra

Gürzenich - Orchester Köln

Chorus

Chor der Oper Köln

Staatenhaus Köln

Dirigent

Dirigent (+1)

Felix Bender

John Heuzenroeder

Ein junger Diener

Bas (+4)

Christoph Seidl

Ein alter Diener

Mezzosopraan (+3)

Lioba Braun

Klytämnestra

Lucas Singer

Der Pfleger des Orest

Maike Raschke

Die Vertraute

Mezzosopraan (+5)

Regina Richter

Zweite Magd

Magdalena Hinterdobler

Chrysothemis

Astrid Kessler

Bariton (+3)

Insik Choi

Orest

Dalia Schaechter

Bas-bariton (+3)

William Socolof

Arne Willimczik

Alina König Rannenberg

Mezzosopraan (+6)

Susanne Blattert

Armando Elizondo

Serafina Starke

Bas (+3)

Karl-Heinz Lehner

Disaster looms over the ruling house of Mycenae. Since Agamemnon was killed by his wife Klytaemnestra, ever new sacrifices have been made. But peace does not return, especially not for the children. Orest has gone missing, Chrysothemis wants a family of her own, but Elektra pursues only one thought: revenge for her father. “The times are strange”, wrote the poet Hugo von Hofmannsthal around 1900, “and they have strange children: us!” He observes “people who were fractured”, who had lost their unity. With irrationality, delusion and “mysteriously aroused nature”, the writer poetically describes what Sigmund Freud was soon to describe psychoanalytically as a sign of the times.

The composer Richard Strauss experienced Hofmannsthal’s “Elektra” as a modern antique drama on the stage in Berlin in 1905 and was fascinated by the expressiveness of the language and the characters. He was particularly interested by the moment where language reaches the end of its possibilities, when Elektra falls into orgiastic dances of triumph. “Do I not hear the music? It comes out of me!” is the decisive sentence for Richard Strauss, who enriches the drama with music that had previously been thought impossible and remains unrivalled to this day. “Elektra” (1909) has the largest orchestra of all of Strauss’ operas, the most incredible tonal language, the starkest contrasts and the boldest idea of opera. Strauss gives the three protagonists Elektra, Chrysothemis and Klytaemnestra a tremendous amount of space to unfold their elemental drive energy - against others and against themselves, under the all-dominant motif of Agamemnon.

This is the first time that the renowned director Roland Schwab, who staged “Tristan und Isolde” at the 2022 Bayreuth Festival, among other things, is working in Cologne.

Foto's