A pretty sound performance. The grimly stark and simple set put the focus and demands on the performers and they, largely, rose to the challenge. Vocally however, the star was Camilla Nylund as Chrysothemis gave an object lesson in top-rank Strauss singing – power, beauty of tone where needed and an almost superhuman consistency of power with no hint or forcing or strain. Soffel (Klytemnestra) and the titular Pankratova were very sound but were rather put in the shade by Nylund.
However, from the Recognition scene, the performance moved up several notches in terms of dramatic involvement and remained there until the end with magnificent drive and commitment from all at a level we had not experienced before. And I much liked the idea of having dancers come on at the end as a visual enactment of E’s state of mind. Too often, this becomes an awkward scene but here it was as powerful as it should always be.
And at the climax the bloodied Orestes standing in the high opening in the back wall of the stage was a very effective closing image, along with what was happening in the dirt below.
A fine performance.