Showing posts with label Greek drama. Show all posts
Showing posts with label Greek drama. Show all posts

Thursday, November 3, 2022

Zambello Shines With WNO's New Elektra

Not since Wagner's Ring in 2016 have we seen such a brilliant Washington National Opera production as Richard Strauss' Elektra on Monday night at the Kennedy Center.  The performance showed what WNO's artistic director Francesca Zambello can do when she puts her mind to it, from collecting the best interpreters for some of the hardest operatic roles to getting the artistic team to join forces to create a memorable revival of a groundbreaking masterpiece.

After visiting Calcutta (today's Kolkata), India, Sir Winston Churchill said: "I shall always be glad to have seen it for the reason that it will be unnecessary for me to see it again." This is how many opera fans feel about Strauss' Elektra. This is probably how I felt when I first saw it all those many years ago, with Hungarian soprano Eva Marton in the role of the revenge-obsessed Greek heroine.

Strauss' Elektra is based on Hugo von Hofmannsthal's 1903 play, which was inspired by an old Greek legend and subsequent plays written by Sophocles and other tragedians.  In Greek legend, King Agamemnon of Mycenae returns from the Trojan War to be assassinated by his wife Clytemnestra and her lover Aegisthus. Agamemnon's daughters Electra and Chrysothemis are spared, but closely watched, and his son Orestes is sent away. Years later, Orestes returns to see the justice done. According to the legend, he then takes the crown and Electra marries his friend Pylades.

Not so in Strauss' opera. His Elektra is traumatized by the bloody murder of her father, which she has either witnessed or has seen his massacred body in the aftermath ("dein Blut rann über deine Augen, und das Bad dampfte von deinem Blut"). She is now torn by the need for revenge. 

Elektra is a female counterpart to Hamlet, only more direct, more fierce and more bloodthirsty.  Unlike Hamlet, who causes many deaths before his own, Elektra is mostly self-destructing. She does not bathe, she does not groom her hair or clothes, and she does not control her behavior, even to save herself. Her raison d'être is getting her father's assassins killed, possibly with the same axe that was used to slaughter him in his bath. After that, she plans to celebrate with a dance around his grave.

We first get a hint of Elektra's deranged mind from a conversation between five  maids, at the start of the opera, but the degree of her abomination is further underlined by contrast with her younger sister Chrysothemis. After being told that their brother Orest is dead, Chrysothemis loses hope to get justice done and is ready to move on, while Elektra believes it is now up to the sisters to kill the murderers, their mother Klytämnestra and her new husband Aegisth

Elektra and Chrysothemis, Photo: Scott Such

Chrysothemis urges her sister to contain her anger lest she should be forced to spend the rest of her life in prison. She wants for both of them to abandon the misery of the corrupt court, and start a new life. Her plea for a future as a wife and mother is one of the most poignant scenes in the opera ("Kinder will ich haben, hevor mein Leib verwelkt, und wär's ein Bauer, dem sie mich geben). But Elektra cannot be swayed from her course and is fierce or devious in turn, as needed. She promises Chrysothemis a lavish wedding and a handsome husband to enlist her help for the deadly deed.

Klytämnestra is weary of her elder daughter, but convinced of Elektra's supernatural powers comes to seek her help to get rid of the nightmares that keep her awake. Elektra's suggested remedy is not to her liking.  "Wenn das rechte Blutopfer unterm Beile Fällt, dann träumst du nicht länger" (if you offer the right sacrifice, the dreams will be gone). 

Klytämnestra towering over Elektra, Photo credit: Scott Suchman

Orest returns from exile and with Elektra's help sneaks into the palace where he kills his mother and her lover. Elektra's mission accomplished, she begins the joyful dance announced as the drama began, and does not stop until she falls dead. Orest is crowned in this production, which is not standard, but brings some optimism at the end of the tragedy.

The relentless strife, pain, agony and madness are densely packed in one long act. The constant agitation, primal screams, laments and intense orchestral music can be taxing on the audience as well as the performers. If the singers shriek, as some are wont to do, it makes wading through the drama harder.  Seeing the curtain fall on the final scene can be a real relief.

None of this was evident in WNO's Elektra on Monday night. The production was well paced and the voices enjoyable. I cannot think of a better choice for the title role than Christine Goerke. Her plush, but hefty soprano floated smoothly from the stage, enveloping the space with force and sweetness, a combination rarely heard in this opera. At times, Goerke brought to mind her superb Brünhilde on the same stage a few years ago, making one wonder how much influence Wagner really had on Strauss. Goerke was frightful in her anger, seductive in her cajoling and almost girlishly coy about her unkempt looks before Orest.  Only her aimless climbing up and down a pile of rubber gravel on the stage seemed superfluous at times. Goerke could convey any feeling with her voice and stance without moving at all.

A real surprise of the evening was Sara Jakubiak's Chrysotemis. Never have I heard such an impressive rendition of this young girl's plea for a peaceful life. The soprano portraying Chrysothemis has to be exceptional to make an impression next to Elektra and Jakubiak definitely did that.  I wish I had seen Goerke's Chrysothemis in an older WNO production of the opera.

Swedish mezzo-soprano Katarina Dalayman was a queen not sure of her power. If Elektra is half-crazed, Dalayman's Klytämnestra is surely getting there, but more like a cackling old lady losing her mind than a murdering despot. 

Bass-baritone Ryan Speedo-Green was an impressive Orest, a role in my view more suitable for him than Escamillo in WNO's latest Carmen. He exuded physical strength and guile Orest needed to regain his rightful position at a court overtaken by treachery.

Czech tenor Štefan Margita emphasized Aegisth's physical and moral weakness in his brief appearance. It was hard to link this pathetic figure with acts of horrific carnage.  

Evan Rogister conducted with aplomb, emphasizing the terror and the drama, without overpowering the singers.


The return of Orest, Photo credit: Scott Suchman

Erhard Rom's set is simple and dark. The only light-colored props are the ruins of a Greek entablature with Agamemnon's name on it, toppled to the ground to signal the demise of his kingdom. Behind them loom modern black structures of a new palace under construction. 

Bibhu Mohapatra's costumes for Elektra and the maids bear elements of Greek peasant garb, while Chrysotemis, Klytämnestra and her retinue wear contemporary looking festive dresses with red, black and gold accents. It is not quite clear why the queen's headgear looks more fitting for a Valkyrie than an ancient Greek royal. Aegisth's appearance is somewhat clownish as he stumbles on the scene in a long tunic, inebriated and clueless. Orest and his companions wear copper-colored breastplates shaped to reflect sculpted bodies underneath, complemented with royal blue shirts and green mantles.

In the post-performance Q & A session, Zambello said the groups were separated by distinctly different costumes to emphasize their belonging to different  factions. In answer to another question, she acknowledged that all the artists sigh a huge breath of relief when the opera is over.  It sounded like Churchill after visiting Calcutta.

I can't remember how exactly I felt after seeing my first Elektra, but I know that I have always considered it a challenge - an opera that needs to be seen and heard time and time again to be conquered. In the past Elektra always won. But the WNO performance on Monday night was unlike any version I had heard before.

I was truly enthralled by it entirely for the first time: the music, acting, voices, dancers and even the somewhat simplistic set.  Zambello's latest production has restored my hope in the return of a better era for the opera house which has floundered in recent years with pedestrian productions of popular works. 


Monday, October 26, 2015

Antigone and the Law of Gods

The ancient Greek drama Antigone has just finished its short run at the Kennedy Center after shows in  Luxembourg, London, Ann Arbor, New York and elsewhere. The performance featuring Oscar-winning French actress Juliette Binoche in the title role, staged by Dutch director Ivo van Hove, and newly translated by Canadian poet Anne Carson, is a modern take on the 2500- year-old play by Sophocles. As every great classic, it resonates with any new generation because even though technology moves forward, human nature does not.

Juliette Binoche as Antigone 
Antigone is doomed to die a slow death, still young and virginal, because she dared to disobey civil law. Her king and uncle Creon has decreed that one of her two brothers who have killed each other in a civil war is to be left unburied as food for vultures and dogs, while the other is to be interred with honors due any great patriot.  (For details, please re-read the drama or check Wikipedia.)

Defying the king's order, Antigone performs the last rites for the unfortunate Polyneices (who in my opinion was only fighting for his rights), and when Creon calls her on the carpet, she argues that the king's orders do not have "the power to override those unwritten and immutable laws decreed by the gods." And, therefore, she continues: "How could I be afraid to disobey laws decreed by any man when I know that I’d have to answer to the gods below if I had disobeyed the laws written by the gods, after I died?"

Well, the girl raises an important question, one that is as relevant today as it was around 440 BC, when the drama was written, except that today perhaps we would talk about one God above and none below.  People oppose or support things claiming God wants this or that, and leaders from ancient Greeks to the medieval Crusaders to George W. Bush have claimed to act in the name of God.

Sometime in the early 1990s, I attended a Christmas service at a Serbian church in London. The priest sermonized that the newly-born Jesus stood behind the Serbs in their just fight against the enemy - Bosnian Muslims, Kosovo's Albanians, Croats ?  Years before that, I heard a Croatian priest in Yugoslavia preaching that God supported the Croats' struggle for independence. God's will has been invoked by fanatics such as Japan's Shoko Asakara, Uganda's Credonia Mwerinde and California Marshall Applewhite - just the three of them causing hundreds of deaths.  Today, we are witnessing beheadings, bombings, shootings and various other atrocities committed in the name of God.

King Creon, the mythical leader of the ancient Thebes, acted on his own conscience when he issued his offensive decrees, arguing that he must insist on discipline to run an orderly state.

"There’s no worse evil than anarchy.
Anarchy destroys nations, my son.
Anarchy destroys homes.
Anarchy turns the spears of allies into fleeing cowards.
Those men left standing, the survivors, have been saved by discipline
", he said.

Van Hove's Antigone: Haemon Trying to Reason With Father 
Creon's son Haemon warned him in return that "Gods give man his most important possession, his brain," and therefore, he said, Thebans can see that their king is acting against the laws of a civilized society. That did not sway Creon. Only when the city's elders determined that his decrees must be revoked because they are contradicting divine laws and that "the punishments of the gods have swift feet and do whatever evil they wish," he hastened to undo his brutal deeds. Alas, too late!

Like Creon, a secular leader today can be questioned and warned to mend his ways. But whoever would dare question God? And so those who want to lead people into committing death, destruction and other despicable deeds, resort to claiming "God's will" to seal the potentially disobedient lips.  Threats of death and eternal life in hell can be added for good measure.

We need a Haemon today to remind us that God gave us brain for a purpose. Personally, I am convinced that God does not mind being questioned. For example, I have never believed that He ordered Abraham to kill his son Isaac as a proof that the devout man loves God more than his own son. No wise man would ever ask such a thing of a parent and the Almighty is surely wiser than the wisest of men.

If I happen to meet God after my death (hardly likely because I am too much of a sinner) and if He confirms that the story revered by the Christians, Jews and Muslims alike is true, I will ask: "How could you? I trusted you!"