On October 21, 2015, the Boston Symphony Orchestra performed Elektra at Carnegie Hall. Since it was an opera, I was expecting it to be like Otello in which the orchestra was below the main stage while the singers were on stage with props and an elaborate set design. When the show started, I realized that it was not…
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Elektra’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…
Continue ReadingThe Bare Bones of Elektra
To convey atmosphere, especially a disturbing one, productions use costumes, set, and special effects. However, the performance of Elektra was done without Ancient Greek rags, fog-machines, and didn’t even hand a backdrop. Instead, the creepy discord of the opera was conveyed with evening dress, furs, well-done makeup, and a stage shared by the orchestra and…
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