Frankfurt am Main (MH) – Claus Guth reaped unanimous jubilation from the audience on Sunday evening for his gripping psychological interpretation of Richard Strauss’ one-act play “Elektra” at the Frankfurt Opera. His take was compelling to show the generational tale of the Atrids’ blood-soaked revenge tragedy as the progressive deterioration of Elektra’s mental state.
“Elektra”
There could hardly have been a more suitable singer for his intelligent introspection than the Estonian Aile Asszonyi in the title role, making her debut in Frankfurt. With her powerful soprano, she not only effortlessly took on Strauss’ huge orchestra, but also presented a disturbing borderline study. Haunted by the scraps of memory from the past, waiting hopelessly for her brother Orestes, who never really enters the stage with Guth, but always remains an imaginary savior, she finally breaks down from the trauma of the past. Equivalent to Elektra’s inner decay, Katrin Lea Tag built a mysterious, increasingly fragmenting stage design that played with many associations. Equal to Elektra, Jennifer Holloway sang her sister Chrysothemis with highly dramatic impact, while Susan Bullock as Klytämnestra seemed vocally slowed down.
General Music Director Sebastian Weigle did not quite keep to his announcement that this time he would conduct the quietest “Elektra” of his life. Delicately illustrating even the most sensitive dream sequences, he allowed the Frankfurt Opera and Museum Orchestra to revel in Strauss’ massive masses of sound with verve. The concentrated performance of Simon Bailey as Orestes, who stood in for the sick Kihwan Sim at short notice, is highly appreciated.
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