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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.

The concert began when California-based singer Kina Grannis casually walked into the venue.  The Blind Pig was empty except for around twenty people.  Kina was all smiles and enthusiastic, and when she began to play it was a warming experience the combination of her voice while she played on her acoustic guitar.  The lights lit up the floor and she was standing in the middle, right amongst us.  Her delightful attitude made the whole audience forget the cold and just want to siddle closer towards the singer and sway along with her tunes.  I could only think how lucky I was to see her up close in a pre-concert show.  Her voice was natural and, with only the acoustic guitar for accompaniment, it was almost surreal how her performance came to us from the YouTube star we were used to seeing on the computer.

Afterwards followed the main show.  Kina Grannis recently married another YouTube singer who goes by the name, Imaginary Future.  Her husband was the first to come to the stage, as the opener for her show.  Imaginary Future did a charming set of mellow, comforting tunes that really supported the more upbeat songs Kina followed with.  The idea of getting married then going on tour together was a really romantic picture.  Her husband began the concert with a kind smile and spoke so tenderly about how proud he was to be on tour with Kina.  And seeing them play on stage together during the main concert only added to the experience.

To describe the way she sang, it’s easier to just give you the chance to listen to her yourself, and recommend, if you enjoy honest love songs, to see her live.  The audience was encouraging and drawn to her music and you could tell the number of people who had been devoted followers of her YouTube presence.  The way to becoming a singer has really changed over the years, and Kina demonstrates that.  Not only is she a special talent, but she took advantage of a special opportunity to reach millions of people with her music.

“There was a cabaret, and there was a master of ceremonies… and there was a city called Berlin, in a country called Germany…and it was the end of the world.”

What a line to sum up one of the most conflicting musicals I have ever seen. In just one quote, the entirety of this vibrant, lively, and absorbing performance was brought to an abrupt and somber halt. For the first time, you realize the depth of the storyline you just watched unfold before your eyes. It was at this moment in the musical when I realized I had witnessed yet another life-changing performance by our very own Musical Theatre Department.

On my way to see the play Friday night, I was unsure of what to expect. I have found that not knowing the premise of a performance before seeing it makes for an exciting and spontaneous experience. I much prefer it this way if I am ever given the chance. Thus, you could say I was even the more pleasantly surprised when I came walking out of the theatre Friday grinning and decompressing from an outstanding performance.

The musical starts out with an air of light heartedness and progresses through a whirlwind of emotion until you tumble out the other end questioning the world you live in. Though I must admit much of the symbolism in the show flew over my head, what I did catch on to made me fairly pensive. The story, though it takes place in a lively and vibrant Cabaret, revolves around life in Berlin during the rise of Nazism in Germany. And not to spoil the ending, but each character is left with hard decisions they must make in the face of a challenging political climate.

The personal connections were heartbreaking and invigorating, a reflection of the talent of the actors and their dedication to their characters. All the music was spot on, and I must compliment the leading lady on her role of Sally, a very conflicted and dynamic character throughout the story. What truly struck me as extraordinary was the choreography and stage direction between the many dance numbers. The Cabaret girls had very demanding parts but pulled them off without a hitch, perfectly illustrating their professionalism. I must applaud the wide range of skills held by the performers in singing and dancing as these complex characters in extreme costumes, all while contributing to the greater plot arc. And finally, I must give the show to the Emcee, whose character is essential to pull together the entire musical. His spirit was tangible throughout all 3 hours of the performance, and his voice was superb for the role. The musical’s finale has the Emcee as an essential part, and his role was so convincing that I felt shivers run down by spine as I watched the scene unfold.

All in all, I am so grateful I went out to see this performance. I would highly suggest it to anyone who has the opportunity, and if you understand it to any greater depth than me, I invite you to leave a comment!

What: Richard Strauss’ Elektra

Where: Detroit Opera House

When: Wed. Oct. 22 at 7.30 pm,  Sat. Oct. 25 at 7.30 pm,  Sun. Oct. 26 at 2.30 pm

Cost: $25* – $118

Strauss’ one act opera begins as King Agamemnon receives a hero’s welcome upon his return home from war only to be murdered by his wife, Klytemnestra, and her lover, Aegisth. Klytemnestra then banishes her son Oreste, since tradition requires that to avenge a murder the avenger must be male. Due to this requirement, Oreste’s sister Elektra waits for his return as their youngest sister, Chrysothemis, refuses to take part in plotting revenge, desiring marriage and a family instead. When news arrives that Oreste is dead, Elektra becomes determined to avenge her father on her own.

*$25 Access tickets are available for persons 18 – 40 for the Wed. Oct. 22 performance who have purchased Access tickets no more than 2 times. For persons who have purchased Access tickets more than 2 times Access tickets are available for $40.