Thriller of a score hits high note in tragedy

FOR ITS first two forays in opera concert performance under artistic director and chief conductor Edo de Waart, the Hong Kong Philharmonic (HKPO) chose the first two operas that German composer Richard Strauss (1854-1949) wrote at the turn of the 20th century. Salome, which was performed in January this year, had its premiere in Dresden, Germany in 1905, and the HKPO's next production, Elektra, had its premiere, also in Dresden, in 1909.

Both works, based on a Biblical story and Greek myth respectively, caused a sensation at the time with their powerful and eloquent music bringing to life bizarre stories featuring a formidable cast of characters.

In 1903, Strauss saw drama productions in Berlin of both Salome and Elektra, directed by Max Reinhardt. The performances had a strong impact on the composer and were to inspire two of his most frequently performed operas.

Strauss's interest in the story of Elektra goes back many years. At the age of 17, the young composer set a chorus of Elektra to music for male voices and orchestra. Twenty-two years were to elapse before Strauss would start thinking about a complete opera inspired by the Greek tragedy.

Elektra is a one-act opera scored to a German-language libretto by Austrian novelist and librettist Hugo von Hofmannsthal (1874-1929). It is based on the tragic play of the same name by the Greek dramatist, Sophocles (496-406 BC). The setting is the ancient Greek city of Mycenae.

The plot of Elektra is full of darkness and anger, with revenge its overriding theme. Elektra, who is played by Susan Bullock, one of today's leading dramatic sopranos, is bent on avenging the death of her father, Agamemnon, who was killed by her mother Klytaemnestra, played by Dame Gwyneth Jones, one of the great Wagnerian sopranos of our time. Elektra's brother Orestes is played by British baritone David Wakeham, and Klytaemnestra's lover Aegisthus is played by Chris Merritt.