The Boston Symphony Orchestra’s performance of Elektra contrasted greatly from the performance of Otello that we saw at the Metropolitan Opera House. In the production of Otello, the orchestra acted as the sometimes subtle accompaniment to the opera itself. In this setting, the lighting and costumes played the most important role in the telling of…
Continue ReadingBoston Symphony Orchestra Performs R. Strauss’s Elektra
Elektra is a nice name for this particular performance because the word Elektra commands full use of the tongue. It begins with the rolling “l” sound, moves to the back of your throat for the clipping “k” and then migrates to the tip. And, most of all, it leaves your lips parted, so you have…
Continue ReadingElektra’s Red Dress
The performance of Elektra on Wednesday, October 21, 2015 was the second opera that I had ever watched; Otello being the first. I expected Elektra to be like Otello in that there would be more acting, stage designs, and costume designs. Before the opera started, I was confused as to where the opera singers would…
Continue ReadingRichard Strauss’s Elektra performed by the Boston Symphony Orchestra
I hope professor Minter doesn’t mind my saying that the Boston Symphony Orchestra’s performance of Richard Strauss’s Elektra was stratospheric; I could not think of a better way to describe it. I was enthralled by the performance and my surroundings. Carnegie Hall was absolutely stunning— it’s stairs a little too steep and possibly life-threatening— but…
Continue ReadingA Presentation of Megalography Through The Boston Symphony Orchestra’s Rendition of Elektra
Megalography, by definition, is the portrayal of figures who exhibit prodigious, customarily approaching zones of inordinacy, levels of greatness and partake in seemingly exorbitant walks of life. Christine Goerke’s self master crafted title role as Elektra, within the one-act opera Elektra, serves as a paragon of megalographic individuality. The surrealistic nature of this character is…
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