New: A Breathtaking ELEKTRA at San Francisco Opera
Richard Strauss’ Elektra, based on the great Greek tragedy by Sophocles, is justly considered a milestone of modern music. Composed in 1908 and premiered in Dresden early in 1909, Elektra comes as close to atonality as Strauss ever ventured. (He once addressed a young composer of the atonal school with the question: “Why do you trouble to write atonally when you have talent?”) Whatever Strauss’s thoughts were regarding atonality, Elektra’s harsh dissonances and bold contrapuntal shifts of tonality were the perfect musical equivalents of the twisted, obsessive, single-minded repetitions of Elektra’s unhinged state of mind. Elektra, after all, had lived to see her father, Agamemnon, return from the Trojan War only to be brutally murdered in cold blood by his wife, Klytemnestra, and her illicit lover, Aegisthus. Then Elektra had found herself treated by her mother and Aegisthus as if she were a slave. She had thus fallen in her blaze of beautiful youth from revered daughter of a king to a ravaged, tattered servant in what used to be her household. She had also seen her brother Orestes flee the household in terror for his own life. Small wonder, therefore, that Elektra harbors great resentment towards her mother, especially, but also towards Aegisthus, the usurper. Small wonder, indeed, that Sigmund Freud and Carl Jung considered that female children psychologically compete with their mothers for the affections of their fathers, a trait they called “the Electra complex.” (Electra is the English spelling, while Elektra is the German spelling used by Strauss and his librettist Hugo von Hofmannstahl.) -more-