The success of a work is often gauged by the level at which an audience finds gratification in a work’s overall presentation. These echelons of audience enjoyment differ among varying mediums; audiences who attend traditional Shakespearean operas may attribute their degrees of entertainment to be founded primarily on the character interpretations shown by actors of…
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A Chinatown Native’s perspective of “The Humans”
I guess the saying, “save the best for last,” is true. “The Humans” was an amazing play by Stephan Karam. Compared to the other performances that we watched this semester, “The Humans” was the only performance where I did not feel out of place. The other performances, especially the operas, were very intimidating for an…
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 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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