Asistí a la función de Elektra del 15 de junio y aquí les proveo mis impresiones (en Inglés).

Had the pleasure of attending last night’s performance of Elektra, a revival of Patrice Chéreau’s beloved production, at the Staatsoper Berlin. Some disappointment had set in days earlier when it was announced that Daniel Barenboim had withdrawn from conducting these Elektras due to health issues. The young Thomas Guggeis took over all five performances in the run. I will also be attending the next performance on the 19th.

Cast:
Klytämnestra - Waltraud Meier
Elektra - Ricarda Merbeth
Chrysothemis - Vida Miknevičiūtė
Aegisth - Gerhard Siegel
Orest - René Pape
Der Pfleger des Orest - David Wakeham
Die Vertraute / Die Aufseherin - Cheryl Studer
Die Schleppträgerin - Natalia Skrycka
Ein junger Diener - Florian Hoffmann
Ein alter Diener - Olaf Bär
Mägde - Bonita Hyman, Natalia Skrycka, Katharina Kammerloher, Anna Samuil, Roberta Alexander

The performance came across most successfully and the nearly sold-out house was also most appreciative. I believe the Staatsoper has been experiencing lackluster ticket sales lately but not last night (for example, reports circulated recently of a dismaying 90% empty house for Jenufa, starring Asmik Grigorian, et.al.). It was encouraging to see most attendees wearing masks, something you won’t see elsewhere in the city, crowded as it is with maskless visitors and locals as if the pandemic was a thing of the past.

The orchestra played georgeously and in full control for Guggeis. It helps that the acoustics are so good in this theater. However, I may be in the minority but I found his orchestra too bombastic from start to end. I literally had to cover my ears on a couple of occasions. In any event, I don’t think I can add anything new about what has already been written multiple times of Chéreau’s Elektra. But it was good to be reminded of his humanistic direction which left no room for over the top camp. Thus Meier sang a subdued Klytämnestra and it was all about her physical acting, which she still does so well, more than vocal theatrics. I personally prefer the latter approach (think Madeira or Fassbaender).

….Continúa….