ELEKTRA.
Tragedy in one act by HUGO VON HOFMANNSTHAL.
Music by RICHARD STRAUSS.
The first production of Strauss' Elektra took place in Dresden January 25th, 1909. It met with immense applause from one part, with trenchant criticism from the Philistines.
Certainly Strauss is neither Wagnerian nor academical, and certain it is, that his new work is interesting enough, to necessitate its admission in the Standard Operaglass.
The instrumentation is marvellous; orchestral impossibilities are unknown to Strauss. Although he depicts with predilection the weird and ghastly, following closely the libretto, often sacrificing beauty of expression to realistic truth, yet he also finds motives of deep feeling. These are for instance the melodious songs of Chrysothemis, the sisters' first duet and the recognition of Orestes by Elektra.
The legend of Orestes has occupied the poets of all times. Its greatest interpreter was Sophokles, who first chose Elektra for the heroine of his drama. But while classic grandeur prevails in the old poet's drama, while he makes Elektra the tool of destiny decreed by the gods, the Viennese poet goes back to the original myth, depriving his heroine of every human feeling. She lets herself be guided only by her thirst for vengeance, and by her own savage and unprincipled instincts, and appears in striking contrast to her sister Chrisothemis, whose gentle nature is the one redeeming feature in the drama.
The scene is laid in Mykene.
In the opening scene five maids are talking about Elektra, who enters haggard and in rags, shunning them and disappearing again like a hunted animal. Day by day she mourns for her father Agamemnon, who has been murdered by her mother's lover Aegisthos.
The maids find fault with Elektra's strange behaviour and haughtiness. They believe her to be dangerous and suggest, that her mother should lock her up safely. One maid reproves them however. She respects in Elektra the dead King's cherished daughter, who, though in rags and brought so low by her unnatural mother, that she is compelled to eat with the servants, yet bears herself more queenly than Clytemnestra herself. The others beat their companion for her allegiance to Elektra, who appears again, moaning for Agamemnon. His poor murdered body seems to arise fresh before her every day. Her one aim in life is vengeance on his murderers, and her only hope is her brother Orestes, who has disappeared.
She is joined by her sister Chrysothemis, who implores her to abandon her vindictive thoughts, the cause of their common captivity. She further reveals to her, that their mother means to imprison her, but Elektra laughs at her terror.—Chrysothemis longs for freedom, the love of a husband and children, and is utterly alien to her sister's dark thoughts. Hearing her mother's step she entreats Elektra to go away, Clytemnestra having had evil dreams about her son's coming home and killing her. Elektra, regardless of her prayers meets her mother with a cruel stare. The latter is in her darkest mood, which grows worse at her hated daughter's appearance. But Elektra, accosting her as a goddess for once quiets her suspicions. Clytemnestra dismisses her servants, who tries to warn her against her daughter. When they are alone, the Queen complains bitterly of the frightful dreams that haunt her, and wants to know, what she can do to banish them.
Elektra answers enigmatically, that a woman must be sacrificed, and that a man, but not Aegisthos the coward, must do it.
Clytemnestra, vainly guessing at his name, is reminded of her son Orestes, whom the mother has made to disappear, while he was a child. Her troubled looks convince Elektra that Orestes is living, and casting off her disguised mood, she sternly tells her mother, that she herself is to be the sacrifice.—In a long wild monologue she reproaches her for all her treachery, ending by depicting the awful fate that awaits her, and rejoicing over it.
Clytemnestra's terror is appeased by the appearance of her attendants, one of whom whispers to her the welcome news of Orestes' death.
Wildly triumphant she leaves her daughter, who hears the bad news from Chrysothemis. Elektra will not believe it until she hears it from another servant, who is sent into the fields, to inform Aegisthos about it. Then she implores her sister's help in killing her mother and her lover, while they are asleep.—She has hidden the axe, with which her father was slain, yet being physically weaker than her younger sister she requires assistance. But although she promises her all the good things on earth and is ready to serve her like a slave, Chrysothemis turns from her shuddering and finally escapes. Elektra wildly curses her and resolves to carry out her design alone.
For this purpose she unearths the axe, but is disturbed by the arrival of a stranger, who takes her for one of the maids. He replies to her angry questions, that he has come to announce Orestes' death, which he has witnessed. Flashing with anger Elektra reproaches him for not having died in his stead. Her bearing convinces him, that she is superior to what she seems. Then she tells him, that she is Elektra, to which he replies in a whisper: "Orestes lives."—At this moment an old family servants enters, bringing three others, who, falling at the stranger's feet, hail him as their master. Then Elektra recognizes her brother and greets him with passionate joy, though she is ashamed of her own miserable appearance. Orestes at once agrees to help her in her vengeance and enters the house with his old servant, locking the door behind him. Elektra, standing erect on the threshold, hears Clytemnestra's scream and exclaims: "Hit her once more!" Those screams bring on Clytemnestra's servants together with Chrysothemis, all trying to open the closed door. But when they see Aegisthos returning they vanish.
The king calls for lights. Elektra taking up a torch, bows low to him, and motions him to go on. When he recognizes her, he asks where the men are, who brought the news of Orestes' death.—Elektra, silently advancing with the torch, opens the door and lets him pass into the house. Then she stands like one transfixed, listening to the frightful cries inside the house.—Chrysothemis appearing in a transport of joy shouts to her, that Orestes has come, and has avenged them by slaying the guilty pair.—All his enemies are dead thanks to those servants, who had remained faithful to him. Orestes is brought out on their shoulders, and while Chrysothemis joins her brother, Elektra sings a weird hymn of exultation. Slowly descending from the steps of the threshold she begins to dance triumphantly. The crowd looks on spellbound; her dance grows wilder and more triumphant until she sinks to the ground lifeless.
VERSIEGELT.
(SEALED.)
Comic Opera in one act by RICHARD BATKA and PORDES-MILO, adapted from Rauppach's "Der versiegelte Bürgermeister".
Music by LEO BLECH.
The popularity of this work, the composer's first real success, is due not only to the sparkling and easy flow of melody, but also in large measure to the skill with which the librettists have adapted Rauppach's old-fashioned comedy.
We are transported to the age of chokers and kneebreeches, and the easy-going and good-humoured spirit of the times is well caught, and combined with the more delicate touches of feeling.
Blech is no mere imitator, but has a distinct individuality.
The chorus of the "Schützen", the dainty and touching little song of the widow Gertrude, and the first love duet are effective and characteristic, while the garrulous Lampe's songs are full of merriment.
The scene is laid in a small provincial town in the year 1830. Frau Willmers, a worthy matron, asks permission of her neighbour, a sprightly young widow, to deposit in her house an heirloom, in the shape of a handsome old cupboard, her reason being that the Burgomaster who bears her a grudge owing to an ancient dispute with her husband, threatens her with distraint for non-payment of taxes. Gertrude readily consents to have the cupboard placed in her room. Meanwhile Frau Willmers' son, Bertel, the Recorder, appears with Elsa, the daughter of the Burgomaster. Bertel has asked the Burgomaster for Elsa's hand, and been refused. Elsa declares that she will marry Bertel and no one but Bertel. The latter begs Gertrude, who has long possessed the Burgomaster's affections, to soften the father's heart. Gertrude promises to do her best, with which consolation the couple together with Frau Willmers take their departure. In a humorous monologue Gertrude decides to accept the Burgomaster. She is interrupted in her soliloquy by Lampe, the Beadle, who is a regular old Paul Pry, and boasts to the widow of his smartness and sagacity. According to himself he can ferret out anything, or any one, from a defrauder of the revenue to a thief, an anarchist or a murderer. Then he goes on to say that he intended to serve notice of distraint on Frau Willmers, but had found her door locked. Suddenly he catches sight of the cupboard which seems familiar to him, whereupon he hurriedly leaves to convince himself that the valuable piece of furniture has been removed from Frau Willmers'. Meanwhile the Burgomaster arrives to ask for Gertrude's hand. He first tells her of Bertel's suit, and is rather taken aback upon the widow advising him to accept Bertel as a son-in-law. Gertrude listens somewhat impatiently to his proposal, and just as he is about to kiss her, Lampe appears at the door with Frau Willmers. Gertrude hastily conceals the Burgomaster in the cupboard. Lampe having compelled the unfortunate Frau Willmers to admit the ownership of the cupboard, promptly affixes the official seal, thus unconsciously seizing the Burgomaster as well as the cupboard. The key is not to be found, and Lampe looking through a hole sees something moving. He suspects a gallant to be inside and leaves the house to fetch the Burgomaster. No sooner has he left than Bertel and Elsa reappear, and are told by Gertrude of what has happened. They resolve to turn the Burgomaster's involuntary imprisonment to their advantage. While Gertrude and Frau Willmers go in search of witnesses, the pair of lovers enact a regular comedy in front of the cupboard. Bertel protests to his sweetheart that his loyalty to, and regard for, her father prevent him from being a party to any deception. He declares that he will rather die than marry the daughter against her father's wishes, whereupon Elsa takes tragic leave of her lover. The Burgomaster, deeply affected, reveals his presence and promises everything if Bertel will only release him. Bertel demands Elsa's hand in return, and the latter hastily draws up a marriage contract in virtue of which she is to be allowed to marry in a fortnight, and is to receive into the bargain from her father 500 dollars in gold, a house and garden, with the customary livestock, to wit, cows, goats, ducks, hens, etc. The document is passed into the cupboard by Bertel and signed by the prisoner. He is then set at liberty, and gives the couple his blessing. But to punish them for their sins, the Burgomaster now locks them up in the cupboard, seals it lightly [Transcriber's note: tightly?], and hides himself in the alcove. Hereupon Gertrude appears, accompanied by a merry throng, whom she has brought from the fair to witness the release of her lover. An inspiriting chorus is sung, the door of the cupboard flies open, but instead of the Burgomaster, out steps the betrothed couple. At the same moment the Burgomaster appears with stern mien. In reply to his question as to how the couple had got into the cupboard, Gertrude artfully declares that she had shut them up in order to unite them in spite of the father's harshness. For a moment all are disappointed at the unexpected turn things are taking. But good humour gains the upper hand, and then increases on the appearance of Lampe who is slightly intoxicated and imagines that Bertel has killed his master, as he has been unable to find him. He wants to lock Gertrude up in the cupboard for having broken the official seal, but eventually is forced into the cupboard himself, and carried off amidst the shouts and jeers of all present. While Bertel and Elsa disappear into the alcove, the Burgomaster makes for Gertrude and as a punishment for the trick she has played him, makes her his wife and seals the compact in the usual manner.