Elektra comes to mind because of The Cleveland Orchestra's stunning performances last weekend of the opera by Richard Strauss with libretto by Hugo von Hofmannsthal. It was sung in the original German with English supertitles by a stellar international cast, all brilliantly conducted by Music Director Franz Welser-Möst.
Australian soprano Lisa Gasteen made her US debut in the title role, although she has sung the part in London. American soprano Christine Brewer portrayed Chrysothemis, and in a stunning tour-de-force, British mezzo Felicity Palmer nearly stole the show as Klytemnestra. American bass-baritone Alan Held drew raves for his Orest, as did German tenor Volker Vogel for Aegisth.
Fortunately, the stage of Severance Hall is large enough to accommodate the 110 or so musicians asked for by the composer, but the singers were all on a platform placed slightly toward the rear and over the orchestra. (This concept, in a slightly different configuration, was first used by the orchestra in 1992 for Die Walkürie as conducted by now Music Director Laureate Christoph von Dohnányi.) The choral voices of the Cleveland Orchestra Chorus, as directed by Robert Porco, were ethereally heard from off-stage, a true example of surround sound.
Colored lights in the soffits of the stage and the ceiling over the auditorium itself were used to excellent dramatic effect: brilliant red when violence was portended and a not-quite-harsh gold near the end (which interfered slightly with the surtitles.) The very first chord played by the orchestra warns of the tension to come, and it is nearly one hour and forty-five minutes of such to follow. At times the music is clangorous, but it can hardly be considered atonal these days. It is almost consistently loud, but not hurtfully so.
Ms. Gasteen is possessed of both a bright, big voice, easily able to soar over the full orchestra playing full out, and considerable acting skills. There was never any doubt as to the emotion behind her singing, it was all right out there on her face, or her body language. As Chrysothemis, Ms. Brewer’s voice blended well with that of Ms. Gasteen. The somewhat softer character of this part was ably displayed in the beginning scenes, making the transition near the end all the more horrific, as the previously peaceful sister becomes the more blood-thirsty one.
The many faces of Klytemnestra were brought to vivid life by the voice and acting of Felicity Palmer, who, although making her Cleveland Orchestra debut, has sung the role internationally. She was scary! Concertmaster William Preucil contributed the lovely, rather chromatic violin song under her solo in scene four. The male singers were given rather short shrift by the composer, but even in their brief roles, they all acquitted themselves well.
And the orchestra? Well, individually or collectively, the musicians were entirely responsive to the wishes of their Music Director. As always, the winds were limpidly beautiful, while the brass was forceful and satiny smooth. The strings played with their usual perfect intonation, providing the lush sounds for which they’re noted, especially in the gigantic demands made by Strauss. (It just isn’t possible to identify individual soloists, given the reduced lighting necessary for the surtitles to be visible.) As in last year’s Don Carlo, Mr. Welser-Möst continued his collaboration with two of the many local colleges and music institutes in the area, by using young professional singers who are either graduate students, or nearly so. This production featured artists from Oberlin Conservatory of Music and the Cleveland Institute of Music, plus two local performers of note: Ray Liddle, a Cleveland singer, was the old servant, and Jacqui Loewy, a local actress, provided the blood-curdling offstage screams. from Cool Cleveland contributor Kelly Ferjutz (:divend:)