This was a wonderful performance, wholly satisfying in both musical and dramatic terms – perhaps because the two elements were so seamlessly brought together in the wonderful production by Balazs Kovalik, whose equally impressive Mefistofole was one of the highlights of all I have seen at the opera house. The setting was in one sense specific (an empty, derelict swimming pool in the foreground, which was Elektra’s home) with a massive structure over the back half of the stage, which could rise, and fall to reveal the palace interior, but also oddly but effectively timeless. The mirror, placed at an angle on this gave us a disconcerting view of the movements and actions of the characters, perhaps giving a slightly distancing effect on what was unfolding, particularly as the conductor and some of the orchestra were often visible. The orchestra under Balazs Kocsar triumphed (as usual and without ever drowning the singers) and were, rightly, fully appreciated by the capacity audience.
There were some intriguing touches too – most notably, the intense physicality of the meeting between Elektra and her brother which hinted at another psychodrama but this was not (could not?) be really explored, unless the radical ending had something to do with it; it could do I suppose.
The role of Elektra must the THE most demanding soprano one in the repertory – more so than Wagner as there are breaks and reductions in tension throughout. Here everything needs to be rigidly maintained from the opening chord until the last one and Ralik was stunning in the role. The voice was a gleaming, untiring sword that both cut through the orchestra and yet could be made tender and warm as needed. And she was a fine actress, with singing and movement perfectly and consistently combined throughout the evening. Adrienne Miksch, equally powerful, very well matched her both vocally and dramatically. However, there was a slightly different, lighter and brighter tone quality to her voice although that did not mean that she was ever overwhelmed. This was welcome, as I have at times found that the two voices can be too similar in some productions and recordings. Atala Schok was an excellent Klytemnestra who did not veer into grotesque parody, (either in her singing or acting) as can sometimes be tempting for performers of this role.
The male parts were well done, with the ever-excellent Gabor Bretz as the most impressive.
A superb evening then.