This month’s newly released opera productions are dramatic masterpieces, exposing ways in which complication is implicit to the human experience, in very different ways.
Richard Strauss’ Elektra is a one act tour de force, based upon the mythology of the ancient Greeks. In the wake of King Agamemnon’s murder at his wife’s hand, his family seethe in a turbulent climate of guilt, desire for revenge and encroaching madness.
This spectacular performance of Elektra was conducted by Christian Thielemann, artistic advisor to the Bayreuth Festival, and it was considered the standout production of 2010’s Baden Baden Festival.
Elektra is full of incredibly powerful and demanding female roles. The titular role is sung by renowned Wagnerian soprano Linda Watson and American soprano Jane Henschel won gushing international plaudits for her interpretation of Klytämnestra, Agamemnon’s daughter and Elektra’s sister.
Strauss’ most demanding opera has been compared to the work of Richard Wager for its intensity and its searing exploration of the cause and effect at large within society.
It is fitting then, that November’s other new release is Die Meistersinger von Nürnberg, Wagner’s deft and humourous opera which belies a heart of razor sharp social commentary. The narrative device of a singing competition allows the libretto to explore what limits society imposes upon unusual behaviour and eccentricity.
Recorded live at the Bayreuth Festival, The Mastersingers of Nuremburg was conducted by Wagnerian expert Sebastian Weigle and a stellar cast is headed by Bavarian bass and comic opera exponent Franz Hawlata.