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The
opera begins.
Agamemnon's theme marks the countdown for the catastrophe. It is day
X. One of the maids' first words shows that something is different from
any previous day. Everything is slightly out of sync – something
is going to happen. Elektra is late for her daily routine - for her
lonesome daily ritual to summon her father's spirit, re-living his death
and her agony, anticipating his "resurrection" through a bloody
revenge. Her ecstatic vision of the triumph gives her relief and the
energy to keep going, and keeps her hatred alive.
Her sister, Chrysothemis secretly sneaks out into the courtyard to warn
Elektra. She has overheard that their mother and stepfather intend to
imprison the untamable Elektra in a dark tower. Elektra responds with
laughter and contempt for her small-minded sister.
In the meantime, Klytämnestra is about to pass by the courtyard
on her way to her frequent bloody sacrifices. Chrysothemis begs Elektra
to stay out of Klytämnestra's sight, since Klytämnestra is
outraged and blood-thirsty like never before due to her nightmares about
Orestes. This is welcome information to Elektra. She decides that it
is the perfect moment to confront her mother.
After a short exchange between the two women, Klytämnestra feels
the desire to talk to Elektra alone and sends her servants away, unusual
as everything else today. Elektra, who knows very well her mother's
vulnerability and morbidity, draws her mother into a labyrinth of conflicting
emotions. Their passions are running high until Elektra traps Klytämnestra
in a psychological corner and a state of emotional exhaustion. At this
moment of deepest horror and helplessness, Elektra could easily kill
her mother but knows that she must not – the gods would not allow
it. It is up to Agamemnon's heir Orestes. Klytämnestra's servant
comes running in to whisper into her ear that news of Orestes' death
had arrived. Klytämnestra exits in triumphant laughter.
Elektra's state of confusion is interrupted by Chrysothemis' appearance
lamenting Orestes' death. I have always been fascinated that at this
moment in the opera Richard Strauss starts using a new set of rehearsal
numbers (the numbers a composer adds to facilitate locating any given
point in the work).
In my interpretation this indicates that everything that has happened
thus far is a prelude, an "incubation" for the next level
of the drama. Like a new rocket booster kicking in, Elektra assumes
the mission of revenge herself. Counting on her sister's collaboration
she plans to kill her father's murderers with the same ax, which she
had hidden, for the revenge. Her attempt to persuade her sister fails.
Chrysothemis flees in horror.
Digging for the ax, Elektra is disturbed by a stranger's entrance. Neither
of them knows the other and both of them are on a secretive and dangerous
mission and must find out who the other one is. The moment of recognition
is like a cosmic explosion - death and birth in one, suspension of time
and space. When the inner turmoil calms down it brings about a most
tender lullaby. Elektra is entranced. If this should be the moment of
her death, she sings, she would die happier than she had lived. Orestes
moves to embrace her, she awakens into reality and realizes with shame
and disbelief what has become of her, the once beautiful princess. Orestes'
resolve to accomplish the feat fills her with motherly tenderness and
ecstatic joy and pride.
As he enters the palace, Elektra is waiting with breathless tension
and suddenly remembers that she has forgotten to give him the ax. "There
are no gods in heaven!" she cries. At this moment we hear Klytämnestra's
first scream, which hits Elektra's innermost marrow like lightning.
Like a demon she howls "Strike one more time!" One more scream,
and it is done.
After this, Aegisth arrives and is lured into the palace where Orestes
is waiting for him. For Elektra, Aegisth's death is not very much more
than the completion of the mission. This completion sets Elektra free.
She is on her march to join the gods. She is burnt out like a dying
star the light of which will still be seen light years after its extinction.
In a state of ecstasy she sings,
"Do you see the light that comes from me?"
Her purpose in life exhausted, she collapses. |
Allein, weh ganz allein 
