Oedipe paris opera pulls together
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One of the most touching aspects of the opera lies in the fact that the two sisters are so different from each other, but this important distinction is lost when they merge visually with the chorus. The confusion worsens when the feral Elektra and her loving but much more conventional sister Chrysothemis appear together.
#Oedipe paris opera pulls together full
The opera opens, for example, with four of the five female servants (all dressed in the same attire) showing little sympathy for the outcast Elektra’s plight, but when they are joined by the identically clothed full chorus, who show their support for the title character throughout, it is difficult to understand how the servants have been able to shift their viewpoints so suddenly. The fact that, with the exception of Klytämnestra, all the female characters and chorus members are dressed in identical sleeveless black robes gives a strong sense of the oppressively dark situation that the women share in this mythical tale, but it also has the unfortunate effect of making it difficult to differentiate between them. This chorus-in-movement’s most dramatic and disturbing deed comes in Elektra’s opening invocation of her dead father, when his naked corpse is exhumed from the hole and held aloft, evoking the image of the crucified Christ. The dark, empty stage in this production is dominated by a grave-shaped hole at its center: Carsen clearly wishes to emphasize the psychological state of the mythical figures, with Elektra surrounded throughout by a large group of women, who perform the role of a silent chorus as they engage in a beguiling modernist ballet.
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Canadian director Robert Carsen pulls out all the stops in this reprise of his 2013 production at the Bastille Opera House, and if some of his theatrical ideas work better than others, the audience is treated to an evening of visceral music-making with a starry cast and the Orchestre de l’Opéra National de Paris on scintillating form, conducted with energy and intelligence by Semyon Bychkov. No room or time is given for light relief as the heroine singlemindedly pursues her mission of avenging her father Agamemnon’s murder by her mother Klytämnestra and Aegisth, her mother’s lover. Richard Strauss’s one-act opera Elektra, the first of his many collaborations with librettist Hugo von Hofmannsthal, is unrelentingly hard-hitting throughout its one hour and 45 minutes. Elektra (Christine Goerke) swears vengeance at the sight of her father Agamemnon’s body.