Saturday, August 16, 2014

A singing team of the highest quality “- Swedish Dagbladet

“Agamemnon” Elektra cry desperately for his father, who is dead, murdered by her mother and her mother’s lover. She hates her family, she wants revenge. She wants to be free

Elektra modershat and fatherly love has given its name to Elektra complex, a counterpart to the Oedipus complex. When Hugo von Hofmannsthal wrote his drama in Vienna for over a hundred years ago was the time to use the old models to access conflicts in the human psyche. Hofmannsthal’s drama gave Richard Strauss opportunity to develop his musical language to an expressionistic level opera audience has not yet recovered from.

This inner drama get in Umeå entirely new proportions of scene collective La Fura dels Baus, who called in to give luster to Umeå Culture. Since the opening of the Games in 1992 in his hometown of Barcelona, ​​they have been known for their spectacular giant productions, with roots in street theater aesthetics.

In recent years they have, among other things produced an epic “Der Ring des Nibelungen “for the new opera house in Valencia, and last summer they did Verdi’s” Aida “at the big arena in Verona. There they had ample opportunities to blossom in triumph scene with giant camels and elephants, while they managed to clear the scene sometimes and give space for chamber music concentration.

Especially concentrated it will not be in Umeå, where the opera is played on a depleted regiment. The old parade ground is an extremely durable surface, where many thousands of recruits have exercerat the years. This evening’s theater extras with burning torches marching, others creeping into the gravel as extensions of the main characters’ bodies.

Elektra’s sense of confinement will be difficult to reproduce in this desert, but instead appears to her abandonment extremely clear, when she slowly wanders over some hills of gravel, which we eventually realize is the father’s grave.

From the towers of containers rapids entire waterfall with red liquid over the plan, which turns into a gravel-laden lake. Or rather a river, surrounded by oblique birches – also a picture of Umeå. At the far end of the Fund sensed an entire forest, sometimes lit up by Bengali in red.

of the sky rises two giant cranes that hold huge puppets of the sisters Elektra and Chrysotemis. These dolls are traveling singers. The contrast between them is accentuated by one doll is black, the other white.

Susanna Levonens Chrysothemis sometimes disappears at the height of the roof of the old barracks. The effective dimensions contributes paradoxically to diminish the emotional experience. There are times when Ingela Brimberg Elektra makes people stillna around them, but other times, she is preoccupied with getting in and out of her giant doll.

duets sung thus sometimes by people who are more than ten feet away each other, which is not to the advantage of the interaction. But it’s classy to look at

The orchestra is in another house on the large regimental area, and from there headed to the sound speakers around the stage. Conductor Rumon Gamba peeping in a large number of monitors. This technique allows the whole orchestra sound sometimes seems recorded in advance and it does not benefit the dynamics. But the inspired orchestra doing a heroic job, and miraculously, it becomes a whole of this musical giant puzzle.

The singers do the show under extreme conditions, and they are concerned about how their vote will hold in the long run. But it is a singing team of the highest class. Ingela Brimberg has exactly the blend of strength and insanity required in the title role – one longs to hear her during drier conditions. Susanna Levonen impresses with an intense portrait of her sister Chrysothemis. And the highlight is when Ingrid Tobias’s Clytemnestra makes a magnificent entrance with 30-headed body and total sånglig control.

A nice detail is that Elektra’s sense of lack of freedom and the total frequency is emphasized by the way she is stuck in her own umbilical cord, hanging like a snake for her all evening. Until the final seconds when she resolutely cut it with the same ax that killed her father.

“Who ever loved us?” they ask jubilant siblings, who now have neither father or mother. “Elektra” unbearably can dig deep into the innermost recesses of man. It tends to make me highly interested. It makes me not in Umeå. But impressed.


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