Elektra by Strauss at MN Opera

Sabine Hogrefe as Elektra in MN Opera’s new staging of Elektra.
Photo by Cory Weaver

One act of intense action and music - that is what you will find at Mn Opera's fantastic production of Elektra by Richard Strauss. This work was a new work for me. I am not that familiar with Strauss's music so I was looking forward to it. I have previously seen the Met in HD production of Salome, as well as the final scene from Capriccio. Having a theatre background I knew the name Elektra, along with Clytemnestra, and some of the other characters in this work, but only have a vague memory of the story, and had heard of the Elektra chord.

Strauss created this incredible work as his second opera (Salome being his first). What stands out, to me, is the immense orchestra, and the vocal lines. It seemed like the majority of the singing was done solo. I felt that Elektra (performed with such passion and focus by Sabine Hogrefe) was performing a monologue that happened to be interjected by each new character that was introduced. And what characters! The story of Elektra is fairly simple - she is hell bent on revenge for the murder of her father by her mother Klytamnestra, and her mother's lover Aegisth. Throughout the whole work, that is the only thing she wants, an eye for an eye. Does she get it?

Pre-show prequal to MN Opera’s new production of Elektra
Photo by Cory Weaver

This production, directed and designed by Brian Staufenbiel, was set in a Weimar Republic film studio where Fritz Lang is filming a silent version of the opera. With this in mind, the orchestra filled most of the stage, while the covered orchestra pit was used primarily as the performance space. Quite a bit of the space was raised to the level of the stage, but there was a lower portion (set on the floor of the theatre) that was set up with a small dressing table with mirror, make-up, some boxes and props, as well as a movie camera. Throughout the opera Lang (played by Justin Cooke) and a camera operator were moving the camera around, directing the action, and talking to the performers. All of this was done during the orchestral interludes so there was very little distracting from the performances. It helped create an intimate space with the singers right up at the edge of the stage for most of their scenes. There were also four walls or doors set at angles that were moved around the playing space - creating different visuals that made sure the stage did not get static. There was a long set of stairs from the playing space to the back of the stage, eventually going off stage. The exit had arches over it, yet the arches were off-center. The back of the stage was covered in artwork that reminded me of Celtic drawings, or even the drawings of the Azteca...ancient and possibly holy but certainly not Greek.

Craig Irvin as Orest and Sabine Hogrefe as Elektra
in MN Opera’s new production of Elektra.
Photo by Cory Weaver

What was the most interesting bit of stagecraft was the whole evening started with a 10 min silent black and white film projected above the doors showing the backstory to Elektra - showing the murder of her father Agamemnon who ordered the sacrifice of her sister Iphigenia. Occasionally through the opera, this screen would descend and you would see more footage from what was being "filmed" on stage, or had previously been filmed. While I never found any rhyme or reason as to the timing of these sections, they did provide some variety to the visuals (including some "alternate" footage from what was taking place on stage). At the same time, I never found them distracting.

The music was a non-stop wall of sound. Beyond the Elektra chord, none of it really stands out. I mentioned to my companion that I didn't walk out humming any tunes. Unlike quite a few operas, there are no discernable arias (at least to me) because the score is so thoroughly composed. This is not a negative about the work - except that it does leave the audience to force applause after some of the bigger solos. The chorus of maidservants that start the opera were very good. You got a sense right away of what they were dealing with working in that house. Orest (performed by Craig Irvin) was fantastic, and provided a nice change in vocal tone (the majority of the singing was by sopranos). Klytamnestra (Jill Grove) had a wonderful moment during her time on stage. The energy she brought to stage was great and I couldn't take my eyes off her. One quick costuming note - the crown she had one was slightly off center which I thought was a great touch of Art Deco while also showing a bit of character. Chrysothemis (Marcy Stonikas) was a mesmerizing contrast to Elektra. She provided some sanity to the story, while making it a bit more relatable. Her character is the sister of Elektra, and while she wants revenge, she also desires to move past and have a family. This was a nice change from the lustful drive for blood that Elektra has. As Elektra, Sabine Hogrefe was on-stage almost all night long. While the opera is just under two-hours long (with no intermission), that is a long time to be brooding and be in such a mindset as the character of Elektra demands. Hogrefe was a force of nature, and was incredible to watch and listen to.

Jill Grove as Klytaemnestra in MN Opera’s new production of Elektra.
Photo by Cory Weaver

Overall it was a fantastic evening of opera. MN Opera has a unique production, and an incredible cast of singers along with a stunning orchestra. If you have a chance, you should take in this work. While it may not be the most beautiful work you have heard, it is thrilling and so good.