Who
would have thought that what was once called Richard Strauss' "one
horrible din" of an opera would be one of today's most frequently
performed operas? Indeed Elektra, a mythical tale of slaughter
and revenge, has become an opera for all seasons, staged year after
year by both major and regional opera houses the world over.*
Is it because audiences through the years have become more sophisticated,
appreciative of the work's musical integrity and thrilled by the discovery
of lyricism (e.g., click HERE to listen to Orest!)
amid the seemingly dense orchestral "din" and the cacophony
of madwomen's voices? Perhaps.
But surely, it is because the world's great musical artists - orchestral
players, conductors and singers alike - convinced of the riveting power
of Strauss' music, to date almost never fail to move audiences by their
own riveting performances.
Foremost among Elektra's interpreters is Hildegard Behrens
who by her unsurpassed artistry and her numerous stellar performances
both on the operatic and concert stage has defined the role perhaps
more than any other active dramatic soprano today. For a sampling of
her exquisite artistry, CLICK
HERE TO VIEW A VIDEO CLIP excerpted from her memorable performances
at the 1998 Antikenfestspiele set in the ancient Roman ruins of Trier.
She portrayed the role in 2003 at the Arena di Verona's Teatro Filarmonico
(Italy). CLICK HERE TO VIEW A SLIDESHOW. Following
this performance, Ms. Behrens graciously consented to an INTERVIEW
in which she shares some fascinating insights on the subject of Elektra
and her own "ROADMAP" to how Behrens
becomes Elektra.
*For example, Arena di Verona, Bavarian
State Opera, Deutsche Oper Berlin, the Metropolitan Opera, Pittsburgh
Opera, and the Royal Opera House, were among those presenting Elektra
in the 2002-03 season.
Allein, weh ganz allein 
