It’s not that usual to get a chance to hear and see an opera for the first time. New shows are quite rare, especially here in Russia and being an opera fan, for a very long period of time, you really try to see and hear, live or in recording quite a few shows. So coming across something new, especially in the theatre is really an occasion. This time it was a new production of the Richard Strauss’s “Die Ägyptische Helena” at the Deutsche Oper Berlin. Strauss is one of my “the” favorite composers, and I’m very much familiar with his music. So, of course, I’ve hear about “Helena”, but never really got a chance to hear even an excerpt from it. (Not that I’ve tried, though). Only thing that I’ve known about it, is that it’s not his “masterpiece”.
Well, masterpiece it’s not, but as some one put it: it is the work of a master. The only real problem I see with the opera is its extremely complicated libretto and overtly poetic language of Hofmastall. So it really makes no sense to retell it, apart that it is the story of the Helena of Troy being escorted back by jealous Meneleas, who is trying to kill her but is prevented by the sorceress Aithra, which by some sort of magic helps the couple to find their love to each other again. The music on the other side is really a typical Strauss, some crossover between Elektra and Ariadne. And I’ve really enjoyed it, especially the end of the first Act and the whole Second one. As in other Strauss’s operas the female voice, especially soprano, had the main part, and some of the parts were typically Strausssian magic.
The staging probably leaves the best impression from the production, with the magical revolving stage, smoothly following our “heroes” on their rediscovery path. Absolutely beautiful sets and costumes.
Ricarda Merbeth as Helena, started a bit low, but seriously improved during the performance, to the level that I’ve really enjoyed her voice. Robert Chavin as Meneleas, was a bit indisposed but overall really mastered the role and acted great. Laura Aikin as Aithra, had a pleasant stage presence and a voice to match.
Since I’ve never heard the score before, it was hard to compare, but overall I’ve really liked the music, and what the orchestra did, with so much nuance, making every instrument audible, a so much subtlety that I do believe that the conductor Andrew Litton did a great job
Overall a fantastic show and great night at the opera
Well, masterpiece it’s not, but as some one put it: it is the work of a master. The only real problem I see with the opera is its extremely complicated libretto and overtly poetic language of Hofmastall. So it really makes no sense to retell it, apart that it is the story of the Helena of Troy being escorted back by jealous Meneleas, who is trying to kill her but is prevented by the sorceress Aithra, which by some sort of magic helps the couple to find their love to each other again. The music on the other side is really a typical Strauss, some crossover between Elektra and Ariadne. And I’ve really enjoyed it, especially the end of the first Act and the whole Second one. As in other Strauss’s operas the female voice, especially soprano, had the main part, and some of the parts were typically Strausssian magic.
The staging probably leaves the best impression from the production, with the magical revolving stage, smoothly following our “heroes” on their rediscovery path. Absolutely beautiful sets and costumes.
Ricarda Merbeth as Helena, started a bit low, but seriously improved during the performance, to the level that I’ve really enjoyed her voice. Robert Chavin as Meneleas, was a bit indisposed but overall really mastered the role and acted great. Laura Aikin as Aithra, had a pleasant stage presence and a voice to match.
Since I’ve never heard the score before, it was hard to compare, but overall I’ve really liked the music, and what the orchestra did, with so much nuance, making every instrument audible, a so much subtlety that I do believe that the conductor Andrew Litton did a great job
Overall a fantastic show and great night at the opera
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