SEEN AND HEARD INTERNATIONAL

Munich Opera Festival 2008 (5):  Strauss, Elektra Soloists, Bayerische Staatsorchester and Chorus, Conductor: Johannes Debus. Nationaltheater Munich 25.7.2008 (JMI)

Production from Bayerische Staatsoper.

Direction, Sets, Costumes and Lights: Herbert Wernike
Direction Revival : Bettina Göschl.

Cast:

Elektra: Gabriele Schnaut, soprano
Chrysothemis: Eva-Maria Westbroek, soprano
Klytämnestra: Agnes Baltsa, mezzo
Orest: Gerd Grochowski, baritone
Aegisth: Reiner Goldberg, tenor


Once again, Munich gave us the Herbert Wernicke production of Strauss's  Elektra, which I have seen on several  previous occasions. The production still fails to convince me, taking place as it does on a thick revolving plane which encloses the whole stage, so that the action takes place only at the front of the stage - except for the two moments where the solid backdrop curtain is opened during Klytämnestra’s appearance and at the the opera's end.

When the curtain  does open we see huge stairs as the only decorative element. At the front of the stage there is nothing else either, except   more metal stairs on the left coming down from one of the second floor boxes -  from which Orest makes his entrance - and a kind of figurative rock, upon which  Elektra and her axe appears. The costumes are quite conventional: a dark grey tunic for Elektra, Chrysothemis in a white robe and Klytämnestra in a red gown, of course. The stage direction is undoubtedly very good, but there is also  no question that having three very good actresses on stage helps the production along a  lot.

Musical direction was in the hands of the young conductor Johannes Debus, who is making an interesting career for himself in German  opera houses just now, particularly in Frankfurt. How difficult Elektra is to conduct! Debus' performance seemed to me somewhat inconsistent and for the most part, rather superficial and although he did allow the Bayerische Staatsorchester to shine, this is not a particularly special merit, considering the quality of this orchestra.  Debus was better in the most dramatic passages, but left me unconvinced in the more intimate ones. The scenes between Klytämnestra and Elektra, the arrival of Orest and his recognition by his sister were, to me at least, rather too flat musically and therefore lacking in emotional impact.

Gabriele Schnaut sang Elektra once again and proved that she still dominates the role and can cope with its many difficulties. There are not so many Elektras around as to make me feel too critical about anyone who has enough power and stamina for the role and  Gabriele Schnaut was very convincing, even though her low register is weaker now than it used to be and despite a wider upper voice vibrato. In short, she is a powerful Elektra, although in vocal terms she is not as secure as in former years.

Eva-Maria Westbroek was a wonderful Chrysothemis, both as singer and actress and  it was a real pleasure to hear her sing this role. A friend of mine asked me when coming out,  whether I prefer Angela  Denoke or Westbroek in the role, and it is very difficult to give a definitive answer. We agreed that they are probably the two greatest singers around for the role of Chysothemis at the moment.

Agnes Baltsa was Klytämnestra and her singing cause me to say  again what I have said so many times before.  A soprano who loses facility in the high notes does not become automatically become a mezzo and a mezzo whose upper range has tightened is not a contralto. Klytämnestra demands a contralto and not a mezzo soprano, which is what Mrs. Baltsa has always been and continues to be. But then, she is still a very fine artist, so who cares?

Gerd Grochowski made a good Orest, though not an outstanding one and the veteran Reiner Goldberg performed very competently as  Aegisth.  All the secondary roles were well served, as is always the case in Munich.

There was a full house too, as usual. The three ladies were cheered, especially Eva-Maria Westbroek, although Gabriele Schnaut, who is really loved by the Munich audience, received almost the same warmth of reception. Maestro Debus on the other hand, received a distinctly cooler response.

José M Irurzun


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