Aix en Provence Elektra a Performance for the Ages

Waltraud Meier as Klytemnestra in Aix en Provence Elektra (Photo: Pascal Victor / Artcomart)

In this age of Regieoper, audiences are frequently confronted with productions seemingly designed for shock value rather than anything with musico-dramatic truth in mind. Instead of a director with the primary goal of illuminating the music and the text, we often get superfluous directorial whims that are willful and self-indulgent, distracting the audience from focusing on the music. So it is gratifying to encounter this new Elektra directed by the great Patrice Chereau. He is of course best known in the opera world for his Bayreuth Centenary Ring Cycle in 1976. It was a ground-breaking production that had its detractors at the time but has since become a classic. Following the Ring, Chereau's ventures into opera has been very infrequent, preferring to channel his creative energies into directing film and theatre.  That said, he did return for select projects, his most recent success was Janacek's From the House of the Dead six years ago. To that you can add this new Elektra as a production for the ages.

Unlike most Regie-inspired productions, this Elektra has no cutting edge stagecraft, no Expressionist symbolism, no nudity, no outrageous costumes, no extra non-singing characters added, and most importantly, no alterations (additions or subtractions) of the music and text. There's nothing bizarre or grotesque here, just a deeply felt re-telling of the tragic story. To that end, the set and costumes are very low key, even somewhat anonymous but perfectly in keeping with Chereau's vision. To be sure, there are a few unusual touches. After Orest murders Klytemnestra, she is brought onstage. When later Aegisth sees the dead Klytemnestra, he goes to her and cries "Helft! Moeder!" and he's stabbed, not by Orest but by his tutor, here sung by the 89-year old (!) Franz Mazura. At the end, Elektra does not drop dead on the ground as is typical of the staging (often based on musical cues), she remains seated and in a trance.  I would love to hear Chereau's explanation for his directorial decisions.

This production features an exceptionally strong cast led by German soprano Evelyn Herlitzius as a searingly intense Elektra. She is a name we don't hear often on this side of the pond, and it's a pity, as Herlitizius is one of the most compelling singer actors today. The voice may not be exactly bel canto, but her sincerity and commitment are never in doubt. In any case, a pretty voice with no expression is out of place in this opera. Herlitzius was stunning in the telecast on July 19th, indefatigable in this most grueling of dramatic soprano roles. The Recognition Scene was particularly gut-wrenching. She received a spectacular and totally well deserved ovation at the end. Another high profile principal is Waltraud Meier as Klytemnestra. She has gone from her mezzo beginnings to tackling zwischenfach roles like Sieglinde and Kundry, even Isolde. As a result, she lacks the contralto lows that would have given Klytemnestra more of a sense of authority in her confrontation with Elektra. Perhaps because of Chereau's vision, her Klytemnestra is formidable enough but elegant and understated - she's a queen after all. It doesn't have the grotesque histrionics one sometimes encounters in other productions. The third principal is Canada's own Adrianne Pieczonka. Singing Chrysothemis for the first time, Pieczonka showed that her gleaming tone and sympathetic stage presence is ideal as the healthy and "normal" sister, a perfect foil for the crazed Elektra.  Orestes is the eminent Russian baritone Mikhail Petrenko who was good but to be honest didn't quite rise to the level of intensity of the women.

http://liveweb.arte.tv/fr/video/Elektra_Richard_Strauss_Festival_d_Aix_en_Provence_Esa-Pekka_Salonen_Patrice_Chereau/