The Opera Tattler

* Notes * 
Despite glowing reviews, I was apprehensive about hearing San Francisco Opera latest Elektra yesterday afternoon because I have never much liked the music of Richard Strauss. My doubts were dispelled almost at once, this stylish production has an excellent cast and conductor, and works both theatrically and musically.

Originally directed by Keith Warner in Prague last year, Anja Kühnhold has taken the reins here to fine effect. The opera is set in a museum, and looks very convincing. People wander around the exhibits before the music begins and even the announcement asking patrons to turn off devices has been switched to one for a museum rather than a performance. I really enjoyed the artfulness in the direction, the eye is drawn around the stage and there are surprises as far as the space and the entrances of singers.

The look of the set matches the singing and playing, everything is clean and crisp. Maestro Henrik Nánási had a promising San Francisco Opera debut, though the orchestra included 100 musicians, the music did not blare or overwhelm. The brass played neatly and the woodwinds sounded absolutely lovely.

The cast is top notch. Though I was disappointed that Stephanie Blythe was replaced by Michaela Martens as Klytemnestra in these performances, Martens was commanding in the role. Tenor Robert Brubaker simpered perfectly as Aegisth, while bass-baritone Alfred Walker (Orest) sang with power. The recognition scene of Orest and Elektra was incredibly creepy, and Walker definitely can act and sing.

In the title role, soprano Christine Goerke likewise is a respectable singing actor, though there isn’t really a dance for her at the end, and this works perfectly well. Goerke has some beautiful deep rich low notes and a ton of endurance. Soprano Adrianne Pieczonka’s sound as Chrysothemis is a very pretty counterpoint to Goerke, her high notes are so shimmery.

* Tattling * 
I loved how quiet the balcony level audience was for this performance.

The end of the Elektra program (and I’m going to guess it is in the Turandot one also) has a “Postlude” from General Director Matthew Shivlock that addresses “Inclusion, Equity, and Opera.” I liked that it recognized orientalism in opera and addressed building dialogue with new audiences, but remain vaguely skeptical as always. It will be interesting to observe what happens.