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Elektra
Richard Strauss's Elektra is not merely an opera but a sonic universe, an embodiment of pain, madness, and ecstasy.
Upcoming dates
Wednesday
11 March
19:00
Richard Strauss's Elektra is not merely an opera but a sonic universe, an embodiment of pain, madness, and ecstasy. Its revolutionary rejection of musical "beauty" creates a gripping psychological drama, as intense as Game of Thrones.
"Our production is about how violence begets violence."
— Yuri Alexandrov
The director masterfully transposed the action into a symbolic space created by Russia's People's Artist Vyacheslav Okunev, where Agamemnon's palace has become a two-story cage. The upper level is the world of Clytemnestra's "gilded lies," while the lower one is a basement where darkness and filth have become the home of Elektra, obsessed with the artifacts of her murdered father.
Palace of Agamemnon. The maids at work discuss the latest news. Queen Klytaemnestra, together with her lover Aegisth, killed her husband – King Agamemnon, and doomed her son Orest to exile. Her two daughters are subjected to eternal humiliation, but especially the proud Elektra, turned into an evil, unsociable fury. The maids mock her, but one of them still tries to protect the princess. A fierce argument turns into a fight...
The maid who interceded for Elektra frees the princess from the shackles. Elektra, on the other hand, mourns his father every day, recalling the bloody murder scene with painful details. She patiently endures the cruel treatment of her mother and stepfather, the ridicule and rudeness of the maids. She is forced to live in disgusting mud with the dogs. The girl has almost lost her human appearance and is waiting for only one thing - the return of her beloved brother Orest, anticipating a merciless revenge. A delightful picture appears in her mind’s eye – hated killers choking on their own blood...
Chrysothemis appears. Elektra is disdainful of her sister. Gentle Chrysothemis resigned herself to her humiliating role in the palace. Pleasing her mother and Aegisth, she lives incomparably better than Elektra. Dreaming of marriage and motherhood, she hopes for simple family happiness. Chrysothemis urges Elektra not to anger her mother, in vain believing that her sister could be frightened by imprisonment and further torture. Elektra does not intend to give up her goal, she kept the ax that killed her father... The argument of the sisters is interrupted by the stomp. Queen Klytaemnestra approaches with her retinue.
Klytaemnestra revels in power, but a troubled conscience has robbed her of sleep. She tries to forget herself with the help of wine, but wine does not bring relief either ... Maybe a sacrifice to the gods will help to get rid of torment? In an unexpected outburst, Klytaemnestra is ready to recall her maternal feelings for Elektra. Perhaps her daughter will advise her on how to get rid of the nightmares. Hypocritically sympathizing with the mother, Elektra predicts a terrible fate for her: she herself will become a victim of retribution and die at the hands of her own son...
To the discouraged Klytaemnestra, the maids whisper some good news ... The queen triumphs and leaves!
Elektra’s loneliness is disturbed by the cry of Chrysothemis. She talks about two strangers who brought undeniable evidence of their brother’s death. Coming out of his daze, Elektra makes a decision. She demands from her sister to help her commit matricide. Horrified, Chrysothemis refuses. But Elektra does not intend to give up, because revenge is the only goal of her life. Suddenly, a stranger appears in a strange outfit, hiding his face. Taking Elektra for a servant, he asks her about life in the palace, posing as a friend of Orest. Elektra chases the stranger with contempt. Her grief for Orest is immeasurable. Having hardly recognized the royal daughter in this girl, the newcomer confesses that he is Orest, and the news of his death is a trick in order to carry out the plan of revenge unrecognized. Human feelings awaken in Elektra again, her petrified heart opens up to hope, tenderness and even love...
At this moment, Chrysothemis dream comes true: she can become a mother. Her lover turns out to be a friend of Orest. He urges Orest to hurry. Orest goes to his mother’s chambers and brutally kills her ... The heartbreaking cry of Klytaemnestra is heard by everyone. But it is too early for Elektra to celebrate the victory, she is waiting for the second victim - Aegisth. She easily lures him to death. It is very easy to be nice, knowing what has been prepared for the scoundrel ... The merciless ax – the weapon with which Agamemnon was killed – falls repeatedly on the head of Aegisth...
Elektra triumphs: what she dreamed of for so long has come true... Her vow to her father is fulfilled. But can she live with blood on her hands? After all, cruelty gives rise to new cruelty. Blood intoxicated Chrysothemis too. She is ready to take the place of her mother, forgetting about her dreams of happiness.
At this time, Elektra’s glee and ecstasy turn into madness, around her she sees only death and horror. Her consciousness creates terrible pictures. Her passion turns against herself...
Orest ascends to the throne, overthrowing Chrysothemis. Elektra dies, tormented by visions.
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Номинация «Лучший дирижер в музыкальном театре» (Максим Вальков), сезон 2021/2022
Номинация «Лучшая исполнительница женской роли в опере» (Наталья Воробьева за роль Клитемнестры), сезон 2021/2022
Номинация «За выдающийся вклад в развитие музыкального театра в России» (Юрий Александров), сезон 2021/2022
Театр «Санктъ-Петербургъ Опера» был создан режиссером Юрием Александровым в 1987 году, когда возникла потребность общества в новых творческих идеях. Вопреки всем трудностям периода «перестройки», театр, задуманный как творческая лаборатория, сразу занял видное место в музыкально-театральном Петербурге, завоевав репутацию «живого оперного театра», «театра поиска».
Театр был сформирован как единый творческий организм с уникальной репертуарной программой. Ее диапазон охватывает музыкальные произведения, созданные в разных жанрах и в разных странах в течение многих веков.
Со временем театр вырос в профессиональный Государственный камерный музыкальный театр «Санктъ-Петербургъ Опера», хорошо известный как в России, так и далеко за ее пределами.
В 1998 году театр обрел собственную сценическую площадку, ею стал особняк барона фон Дервиза (Галерная, 33), история которого тесно связана с музыкально-театральной историей Петербурга.
Художественным руководителем театра со дня его основания является народный артист России Юрий Александров.
