February 02. 2019 - February 22. 2019

Swipe

February 02. 2019 - February 22. 2019

- Overview
- Videos
- Audio
- Articles
- Synopsis
- Artists

Elektra

There’s no operatic tour de force to surpass Elektra, with a title role that demands a truly great singing actress.

It’s a stunning vocal marathon, with riveting intensity. You owe it to yourself to experience the vocal grandeur and blazing drama of this passionate heroine. She’s the Mycenaean princess whose father, Agamemnon, was murdered by her mother, Klytemnestra, leaving Elektra hell-bent on revenge. As Richard Strauss’s staggeringly powerful orchestra moves inexorably toward the opera’s hair-raising finale, the music gives you a composer at his zenith—magnificently theatrical and devastatingly moving.

Language: Sung in German with projected English translations
Running Time: 1 hour, 40 minutes with no intermission
Location: Lyric Opera House

Swipe

Stemme’s performance – by turns sensual, subtle and dramatically charged – yielded a full-bodied, complexly nuanced Elektra.”

Chicago Tribune

A revelatory performance by a soprano at the peak of her powers.”

Chicago Sun-Times

Magnificence of Lyric Opera of Chicago’s current production resides in the depth of its humanity.”

Chicago on the Aisle

Every facet of this production is thoughtful and dramatic, so much so that even the actors aren’t immune from its terrors.”

Schmopera

The women are the electrifying forces, and they set the stage on fire.”

WTTW

Elektra videos

Swipe

See what critics are saying about Elektra

There's no operatic tour de force to surpass Elektra, with a title role that demands a truly great singing actress.

Lyric Opera of Chicago presents R. Strauss's Elektra

There's no operatic tour de force to surpass Elektra, with a title role that demands a truly great singing actress.

Nina Stemme on becoming Elektra

Hear from Nina Stemme as she talks about becoming the title character in R. Strauss's Elektra.

Nina Stemme on David McVicar's production of Elektra

Hear from Nina Stemme as she talks about what this production brings out in her and her colleagues and why you can't miss this production of R. Strauss's Elektra.

Elektra

by Richard Strauss

The music featured is generously furnished by Warner Classics.

"Was bluten muss"

0:00 /0:00

"Sie fahren dahin wie die Schaerfe des Schwerts"

0:00 /0:00

Elektra

by Richard Strauss

Lyric Opera Commentaries are sponsored by the Patrick G. and Shirley W. Ryan Foundation in memory of their parents.

© 2018/19 Lyric Opera Commentaries. All rights reserved. Recording & Production services provided by Mark Travis. The music featured in Lyric Commentaries is generously furnished by Warner Classics.
A project of the Women’s Board

Commentary by Nicholas Ivor Martin

0:00 /0:00

Elektra articles

Swipe

The Irresistible Power of Strauss's Elektra

Before his riveting new production of Elektra opened Lyric's 2012/13 Season, Sir David McVicar talked with us about what makes this a must-see opera.

Two Titans of Opera will Ignite Lyric's Elektra

The leading lady and conductor of Strauss's Elektra are both making hugely anticipated Lyric debuts. Nina Stemme and Donald Runnicles arrive here as true luminaries of opera, enormously sought after and rapturously acclaimed worldwide.

Synopsis

The Trojan War began after Helen, sister-in-law of Mycenae’s King Agamemnon, eloped with Paris, Prince of Troy. Agamemnon, commander of the Greek forces, set off to reclaim Helen, sacrificing his daughter Iphigenia to ensure favorable winds for the journey. His traumatized wife Klytämnestra sought comfort in the arms of Agamemnon’s nephew, Aegisth (himself a child of incest). When Agamemnon returned, Klytämnestra and Aegisth murdered him and usurped his throne, to the horror and despair of Elektra, daughter of Klytämnestra and Agamemnon. Elektra was able to ensure that her brother Orest was sent away to safety before his mother and her lover could harm him.

In the courtyard of Agamemnon’s palace, five maids discuss the erratic behavior of Elektra, who has lost her rightful place in the royal household and been condemned to a menial existence. One of the maids unleashes the hostility of her companions by declaring her loyalty to Elektra who, despite her strange ways, is still a royal princess and daughter of the late king. The overseer, who shares in the censure of Elektra, sends the maids inside, where they continue to abuse their companion.

Elektra enters the courtyard, brooding on the murder of her father and upon his unpunished assassins. She swears that she and her siblings, Orest and Chrysothemis, will dance at Agamemnon’s tomb when their vengeance will have set his soul at peace. Chrysothemis comes to warn Elektra that Klytämnestra and Aegisth are plotting to imprison her. She begs Elektra to flee with her from the tortured existence they must endure in the palace. Chrysothemis longs for a happier life – above all, to bear children. She advises her sister to avoid Klytämnestra, who the night before had been plagued by terrifying dreams. Elektra replies that she must speak to Klytämnestra, and Chrysothemis leaves as their mother approaches.

The sight of Elektra inspires fear in Klytämnestra and elicits hostile remarks from the queen’s confidante and trainbearer, who are sent away. Klytämnestra asks her daughter if she knows a remedy for the nightmares and the suffering they provoke. Elektra suggests that the sacrifice of an appropriate victim would end her mother’s torment. When Klytämnestra presses her for details, Elektra exultantly reveals that the queen herself must be the victim whose blood is to be offered by the exiled Orest. Servants rush in to whisper news to Klytämnestra, who begins to laugh as if in triumph.

After the queen has left the courtyard, Elektra learns from Chrysothemis that the news inspiring such joy in Klytämnestra was the death of Orest. His legitimate claim to his father’s throne had threatened the power and lives of his mother and her paramour. Elektra refuses to believe her brother is dead, yet a young servant seems to confirm the news when he asks an older colleague for a horse to rush the tidings to Aegisth.

Elektra reveals to Chrysothemis that she has kept the axe that was used to murder their father. She had intended to give it to Orest so he could seek vengeance on Klytämnestra and Aegisth. Now there is no alternative but immediate action. Elektra’s request for help in the double murder horrifies Chrysothemis, who rushes away, leaving Elektra resolved to exact her revenge unaided.

A stranger enters, explaining that he is waiting to give Klytämnestra an eyewitness account of Orest’s death. This new confirmation of the awful news releases a torrent of grief in Elektra, who discloses her identity. The stranger – Orest himself, who had not previously recognized her – wonders that the dogs at the gate knew him, but his sister does not. Now aware that the man before her is her own brother, she is ecstatic.

Orest informs Elektra that he is on a mission of vengeance. His tutor appears, chiding the siblings for recklessly discussing their plans where they can be overheard. He tells Orest that Klytämnestra awaits, and the two men enter the palace. Almost immediately Klytämnestra’s shrieks ring out. The courtyard quickly fills with terrified servants, who flee to avoid fatal reprisals from Aegisth when he hears that Klytämnestra has been murdered.

When Aegisth reaches the courtyard, he finds no one there but Elektra. Although disturbed by her suddenly gentler and sweeter demeanor, he allows her to light his way across the threshold. Once inside, he is heard desperately calling for help. To his shouts of “Can no one hear me?” Elektra cries, “Agamemnon hears you!” Only a moment after Aegisth is killed, Chrysothemis and the maids run out to tell Elektra that Orest has avenged the murder of Agamemnon. Elektra performs a triumphal dance and then falls senseless to the ground. Chrysothemis rushes to the palace door, frantically calling for Orest.

Program book

Go inside this production of Elektra with engaging articles, notes from the director, a complete plot synopsis, artist bios, and more.

View Digital Program Book

Meet the artists

Nina Stemme

Elektra

Celebrated Swedish soprano Nina Stemme made her Lyric debut with the title role of Elektra (2018|19).

Learn More
Elza Van Den Heever

Chrysothemis

South African soprano Elza Van Den Heever's Lyric credits include Chrysothemis/Elektra (2018|19) and Armida/Rinaldo (2011|12).

Learn More
Michaela Martens

Klytämnestra

American mezzosoprano Michaela Martens's Lyric credits include Klytämnestra/Elektra (2018/19).

Learn More
Iain Paterson

Orest

Bassbaritone Iain Peterson made his Lyric debut as Orest in Elektra (2018|19).

Learn More
Robert Brubaker

Aegisth

American tenor Robert Brubaker made his Lyric debut as Aegisth in Elektra (2018/19).

Learn More
Philip Horst

Orest's Tutor

Bass-baritone Philip Horst's Lyric credits include Orest’s Tutor/Elektra (2018|19); Pantheus/Les Troyens (2016|17).

Learn More
Susan Foster

Overseer

American soprano and Ryan Opera Center alumna Susan Foster has sung eight roles with Lyric since 1989.

Learn More
Lauren Decker

First Maid

Ryan Opera Center Ensemble

Contralto Lauren Decker, a four-year member of the Ryan Opera Center, was a national semifinalist in the 2018 Metropolitan Opera National Council Auditions.

Learn More
Mary Phillips

Second Maid

American mezzo-soprano Mary Phillips made her Lyric debut as Second Maid in Elektra (2018|19).

Learn More
Krysty Swann

Third Maid

Mezzo-soprano Krysty Swann's Lyric credits include Third Maid/Elektra (2018|19) and Grimgerde/Die Walküre (2017|18).

Learn More
Alexandra LoBianco

Fourth Maid

Soprano Alexandra LoBianco's Lyric credits include Fourth Maid/Elektra (2018|19); Helmwige/Die Walküre (2017|18).

Learn More
Ann Toomey

Fifth Maid

American soprano and Ryan Opera Center member Ann Toomey has performed four roles at Lyric since 2016|17.

Learn More
Whitney Morrison

Confidante

Ryan Opera Center Ensemble

Whitney Morrison, the soprano, a Chicago native and a Ryan Opera Center alumna, has triumphed in multiple roles at Lyric.

Learn More
Emily Pogorelc

Trainbearer

Ryan Opera Center Ensemble

Soprano Emily Pogorelc, a native of Milwaukee, Wisconsin was a Ryan Opera Center member for three years.

Learn More
Eric Ferring

Young Servant

Ryan Opera Center Ensemble

Tenor Eric Ferring, a native of Dubuque, Iowa, was a Ryan Opera Center member for two years.

Learn More
Donald Runnicles

Conductor

Scottish conductor Donald Runnicles made his Lyric debut conducting Elektra in 2018/19.

Learn More
Sir David McVicar

Original Director

The renowned Scottish director’s productions are seen annually in major houses worldwide.

Learn More
Nick Sandys

Revival Director

Nick Sandys Lyric credits include over 40 productions, including Don Giovanni (2019|20) and West Side Story (2018|19).

Learn More
John Macfarlane

Designer

Scottish designer John Macfarlane 's Lyric credits include Tchaikovksy's The Queen of Spades (2019|20)

Learn More
Jennifer Tipton

Lighting Designer

American Lighting Designer Jennifer Tipton has worked with Lyric Opera since 1988.

Learn More
Michael Black

Chorus Master

Michael Black has served Lyric Opera of Chicago since the 2013/14 Season.

Learn More