Strauss’ Elektra is a monster of a piece. An hour and 45 minutes long with no intermission this opera is demanding, expecting larger than life performances from it’s singers and pit allowing them no rest until the curtain falls. The Michigan Opera Theater production was well up to the challenge and presented a phenomenal production, continuing a successful run following opening night on Saturday.
Strauss began composing Elektra after seeing Hofmannstahl’s play of the same name and seeking permission from the playwright to turn the play into an opera. This began a long and prolific partnership between Strauss and Hofmannstahl which resulted in 6 operas over 24 years.
The curtain rises as five servants attempt to wash the blood of the human sacrifices from the palace wall. Elektra’s mother, Klytaemnestra, has been performing these sacrifices to appease the gods whom she angered by murdering her husband with Aegisth. Though small roles, the five servants set the tone for evening. By beginning the show with strong vocals loud enough to be heard over the thick orchestration which Strauss provides, the expectation for vocal prowess was set at an extremely high level.
Christine Goerke was a force of nature in the title role of Elektra. A massive voice, Goerke filled the house with a powerful sound. Her portrayal of Elektra both musically and theatrically encompassed the fierceness, determination and crazed nature of the character. This massive role took it’s toll on Goerke and in the final third of the opera some of her high notes lost the warmth which they began the show with, however, she finished the show with an impressively solid performance of this tremendously difficult role.
Jennifer Check in the role of Chrysothemis provided a much needed relief from the intensity of the opera and a stark contrast to the crazed portrayal of Elektra. Dressed in all white, Check provided a wholesome and simplistic interpretation of the character quickly becoming my favorite of the night. Superb lighting assisted in her portrayal of the character as she was consistent lit with bright warm light while Goerke was often dimly lit, hidden in shadow.
Overall, this production is a tremendous triumph for Michigan Opera Theater. Directed by Nicholas Muni and conducted by Steven Mercurio, every aspect of the performance came together seamlessly to create the overall effect.
