Elektra - Schedule, Program & Tickets
Elektra
Date:
Time:
Price class:
Location:
29.03.2025 , Saturday
18:00
B
Deutsche Oper, Bismarckstraße 35, 10627 Berlin, Germany
Seating plan
Tragedy in an Elevator
Poetry by Hugo von Hofmannsthal
First performance on January 25, 1909 in Dresden
Premiered at the Deutsche Oper Berlin on November 3, 2007
recommended from 15 years
1 hour 45 minutes / no break
In German with German and English surtitles
Introduction: 45 minutes before the start of the performance in the foyer on the right
In a backyard shaft of the Mycenaean backyard palace, maids make contemptuous remarks about Elektra; she cannot get over the murder of her father Agamemnon, revenge her only desire. Only the youngest of the maids shows pity for her and is therefore punished. Elektra longs for the moment of revenge, which she firmly believes will be carried out by her brother Orestes, who grew up far away. Her sister Chrysothemis can hardly bear Elektra's existence and tries to protect her from her mother, who is up to something terrible. She wants to leave this terrible place with her to live in freedom. Clytemnestra, her mother, has been tormented by nightmares since her husband's murder and asks her daughter Elektra for help. During the conversation, a rapprochement between the two women seems possible; but when Klytämnestra obviously lies to her daughter about the whereabouts of her son Orestes, Elektra's hatred breaks out again. The ambiguous answer to Clytemnestra's question about the remedy for the tormenting fears: she will no longer dream once the right sacrificial animal has fallen under the axe. Two strangers have come to announce the death of Elektra's brother Orestes. Elektra finally wants to commit the crime together with Chrysothemis. But she doesn't see herself as able to do that. Determined for revenge, Elektra decides: "Well then, alone!" One of the strangers approaches her; Dismayed by Elektra's physical and mental state, he reveals himself: Orestes. He goes into action - from the inside, the death screams of Clytemnestra penetrate to the outside. Then Elektra lures Aegisth into the palace, where he too is killed by Orestes. Agamemnon is avenged. Nevertheless, Elektra remains unredeemed in the palace and dances herself to death.
“For all the dimensions of the score, ELEKTRA is a chamber play. I'm not concerned with designing horrifying images, but with making the horror vacui in which people live tangible. The line between passion and obsession is dangerously fluid. We experience this every day in world politics and in everyday life. What touches me about Elektra is the inability to mourn. She has forbidden herself to mourn and has shaped her life in such a way that mourning can no longer take place. Deep and existential feelings like pain need an outlet. If you can mourn, you don't have to hate. What is staggering about ELEKTRA is the devastating proportions unquestionable patterns of behavior can take. Chrysothemis knows how to get out of the spiral of violence, but she cannot assert herself against her sister and free her from her mental imprisonment. While Elektra finally splits into mirror beings of her devastated interior, and her personality is lost in a pandemonium of escalating emotions, Chrysothemis is left as the only survivor of the clan in the midst of an inescapable palace full of phantoms..." (Kirsten Harms, 2007)
Musikalische Leitung
Ulf Schirmer
Inszenierung
Kirsten Harms
Bühne, Kostüme
Bernd Damovsky
Chöre
Jeremy Bines
Choreographie
Silvana Schröder
Klytämnestra
Violeta Urmana
Elektra
Catherine Foster
Chrysothemis
Allison Oakes
Aegisth
Clemens Bieber
Orest
Tobias Kehrer
Der Pfleger des Orest
Tyler Zimmerman
Die Vertraute
Gina Perregrino
Die Schleppträgerin
Kristina Häger
Ein junger Diener
Patrick Cook
Ein alter Diener
Stephen Bronk
Aufseherin
Kirsi Tiihonen
1. Magd
Annika Schlicht
2. Magd
Irene Roberts
3. Magd
Arianna Manganello
4. Magd
Alexandra Hutton
5. Magd
Valeriia Savinskaia
Chor
Chor der Deutschen Oper Berlin
Orchester
Orchester der Deutschen Oper Berlin
Tänzer
Opernballett der Deutschen Oper Berlin
Subject to change.
Poetry by Hugo von Hofmannsthal
First performance on January 25, 1909 in Dresden
Premiered at the Deutsche Oper Berlin on November 3, 2007
recommended from 15 years
1 hour 45 minutes / no break
In German with German and English surtitles
Introduction: 45 minutes before the start of the performance in the foyer on the right
In a backyard shaft of the Mycenaean backyard palace, maids make contemptuous remarks about Elektra; she cannot get over the murder of her father Agamemnon, revenge her only desire. Only the youngest of the maids shows pity for her and is therefore punished. Elektra longs for the moment of revenge, which she firmly believes will be carried out by her brother Orestes, who grew up far away. Her sister Chrysothemis can hardly bear Elektra's existence and tries to protect her from her mother, who is up to something terrible. She wants to leave this terrible place with her to live in freedom. Clytemnestra, her mother, has been tormented by nightmares since her husband's murder and asks her daughter Elektra for help. During the conversation, a rapprochement between the two women seems possible; but when Klytämnestra obviously lies to her daughter about the whereabouts of her son Orestes, Elektra's hatred breaks out again. The ambiguous answer to Clytemnestra's question about the remedy for the tormenting fears: she will no longer dream once the right sacrificial animal has fallen under the axe. Two strangers have come to announce the death of Elektra's brother Orestes. Elektra finally wants to commit the crime together with Chrysothemis. But she doesn't see herself as able to do that. Determined for revenge, Elektra decides: "Well then, alone!" One of the strangers approaches her; Dismayed by Elektra's physical and mental state, he reveals himself: Orestes. He goes into action - from the inside, the death screams of Clytemnestra penetrate to the outside. Then Elektra lures Aegisth into the palace, where he too is killed by Orestes. Agamemnon is avenged. Nevertheless, Elektra remains unredeemed in the palace and dances herself to death.
“For all the dimensions of the score, ELEKTRA is a chamber play. I'm not concerned with designing horrifying images, but with making the horror vacui in which people live tangible. The line between passion and obsession is dangerously fluid. We experience this every day in world politics and in everyday life. What touches me about Elektra is the inability to mourn. She has forbidden herself to mourn and has shaped her life in such a way that mourning can no longer take place. Deep and existential feelings like pain need an outlet. If you can mourn, you don't have to hate. What is staggering about ELEKTRA is the devastating proportions unquestionable patterns of behavior can take. Chrysothemis knows how to get out of the spiral of violence, but she cannot assert herself against her sister and free her from her mental imprisonment. While Elektra finally splits into mirror beings of her devastated interior, and her personality is lost in a pandemonium of escalating emotions, Chrysothemis is left as the only survivor of the clan in the midst of an inescapable palace full of phantoms..." (Kirsten Harms, 2007)
Musikalische Leitung
Ulf Schirmer
Inszenierung
Kirsten Harms
Bühne, Kostüme
Bernd Damovsky
Chöre
Jeremy Bines
Choreographie
Silvana Schröder
Klytämnestra
Violeta Urmana
Elektra
Catherine Foster
Chrysothemis
Allison Oakes
Aegisth
Clemens Bieber
Orest
Tobias Kehrer
Der Pfleger des Orest
Tyler Zimmerman
Die Vertraute
Gina Perregrino
Die Schleppträgerin
Kristina Häger
Ein junger Diener
Patrick Cook
Ein alter Diener
Stephen Bronk
Aufseherin
Kirsi Tiihonen
1. Magd
Annika Schlicht
2. Magd
Irene Roberts
3. Magd
Arianna Manganello
4. Magd
Alexandra Hutton
5. Magd
Valeriia Savinskaia
Chor
Chor der Deutschen Oper Berlin
Orchester
Orchester der Deutschen Oper Berlin
Tänzer
Opernballett der Deutschen Oper Berlin
Subject to change.