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THE ROYAL OPERA

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Exceptional philanthropic support from

Royal Opera House Principals Julia and Hans Rausing

Season Principal Aline Foriel-Destezet

Generous philanthropic support from Mrs Susan A. Olde OBE, Aud Jebsen, The Foyle Foundation, Charles Holloway, The Maestro’s Circle, The Friends Of Covent Garden and The American Friends Of Covent Garden

Position of Music Director Maestro Antonio Pappano CVO generously supported by Mrs Susan A. Olde OBE

The role of Elektra is generously supported by Nicholas and Suzanne Peters

Music Richard Strauss Libretto Hugo von Hofmannsthal by permission of Boosey and Hawkes Music Publishers Ltd

Elektra

TRAGEDY IN ONE ACT

18.01.2024 19:30

The 119th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

This performance will last for approximately 1 hour and 50 minutes with no interval.

GUIDANCE

Suitable for ages 12+

Contains violent scenes, blood and sexual assault

CREDITS

Company
The Royal Opera
Music
Richard Strauss
Libretto
Hugo von Hofmannsthal
Director
Christof Loy
Designer
Johannes Leiacker
Lighting Designer
Olaf Winter

CAST

Conductor
Antonio Pappano
First Maid
Noa Beinart
Second Maid
Veena Akama-Makia
Third Maid
Gabrielė Kupšytė
Fourth Maid
Ella Taylor
Fifth Maid
Valentina Puskás
Overseer
Lee Bisset
Elektra
Ausrine Stundyte replaces Nina Stemme
Chrysothemis
Sara Jakubiak
Klytämnestra
Karita Mattila
Confidante
Marianne Cotterill
Trainbearer
Amanda Baldwin
Young Servant
Michael Gibson
Old Servant
Jeremy White
Orest
Łukasz Goliński
Orest’s Companion
Michael Mofidian
Ägisth
Charles Workman
Servants
Amy Catt, Tamsin Coombs, Andrea Hazell, Kiera Lyness, Deborah Peake-Jones, Cari Searle
Orchestra
Orchestra of the Royal Opera House
Guest Concert Master
Natalia Lomeiko
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding

Veena Akama-Makia, Gabrielė Kupšytė, Valentina Puskás and Michael Gibson are Jette Parker Artists

Actors

Alexander Ballinger, Roseanna Bell, Kris Dillon, Ramin Farahani, Nathanael James, Simon Jaymes, Bu Kunene, Fabrizio Lloris, James Monckton, Eduardo Nunez, Yasset Roldan, Jonathan Savage, Saorla Wright

SYNOPSIS

Elektra was still a child when she witnessed the treacherous slaughter of her father, King Agamemnon, while he slept. It was her mother Klytämnestra and her mother’s lover Ägisth who committed the murder.

Elektra’s younger brother Orest was sent out of the country, as their mother feared that he would grow up to avenge what she had done. In the meantime, Klytämnestra has humiliated her daughter Elektra, who openly flaunts her hatred for her, by making her a maidservant. While Elektra’s sister Chrysothemis is able to live a privileged life at court, her mother nevertheless keeps her away from men, fearing that she too could give birth to a potential avenger. Elektra herself has now spent countless years waiting for Orest to return and avenge their father’s death.

The maids have nothing but contempt for the princess Elektra, who has been reduced to being a servant. When one of the maids speaks up for Elektra, she is immediately set upon.

In her solitude Elektra turns to her murdered father, addressing him, and yearning for him to take her in his arms. As if repeating a ritual, she promises him that the day of vengeance will come, and dreams of a blood bath in honour of Agamemnon.

Her sister Chrysothemis begs her to give up this delusion and abandon the idea of vengeance. Only then will they both be able to lead normal lives, and Chrysothemis can devote herself to love and a husband, and become a mother. Elektra despises her sister for this normative fantasy.

Klytämnestra demands to speak to Elektra: she has had a sleepless night and feels that only by talking to her daughter can she find peace of mind. She believes in rites, and in the need for a sacrificial victim to soothe her conscience. Elektra enjoys hearing how her mother agonises night after night, unable to sleep. Eventually Elektra explains to her that she, Klytämnestra, is the sacrificial victim that must be slaughtered, and gloatingly describes every detail of her mother’s imminent murder.

Just as Elektra is exulting, Klytämnestra receives news that Orest has been killed in a horrible accident. A shocked Chrysothemis explains to her sister that he was dragged to death by his own horses. But Elektra allows herself no time to grieve. She tries to persuade – or rather, force – Chrysothemis to murder her own mother and Ägisth that very night. Horrified, Chrysothemis, who desires love, not hatred, runs off.

As Elektra sets about digging up the axe her father was murdered with in order to exact vengeance, she suddenly finds herself facing an unknown man. The two eventually recognise one another: he is her brother Orest, who has had word of his death falsely circulated to ease his path to Klytämnestra. Now he is here, with a Companion, to finally achieve the vengeance that Elektra has so long been waiting for. Orest and his Companion are let into the house and shortly afterwards the panic-stricken screams of the dying Klytämnestra can be heard.

Ägisth, who now spends his evenings away from his wife, then returns home, and Elektra herself leads him to the front door. The same murderous scenario is enacted and Ägisth is heard screaming as he is promptly executed by Orest.

Elektra’s mission has been fulfilled.

– Christof Loy (translation: Kenneth Chalmers)

PRODUCTION CREDITS

Music preparation
Christopher Willis, Edward Reeve, Patrick Milne
Assistant Directors
Silvia Aurea De Stefano, Eleanor Burke
Language Coach
Franziska Roth
Fight Director
Rich Gittins
Costume Assistant
Uta Baatz

Edward Reeve and Eleanor Burke are Jette Parker Artists

THE ROYAL OPERA

Patron

The former Prince of Wales

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

DIGITAL CAST SHEETS

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

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