Elektra poster

Elektra (1989)

1989-01-01 · EN
IMDb ↗

Recorded at the Vienna State Opera house in 1989, this staging of Richard Strauss and Hugo von Hofmannsthal’s Elektra is one of the glories of live opera on film, deserving of eternal availability. The DVD picture has great clarity, despite the darkness of Hans Schavernoch’s set design. Other than the cliché of a huge statue head, toppled on its side, the set manages to be suitably representative of a decaying palace as well as an imposing, theatrical space, dominated by the mammoth body of the statue from which the head apparently dropped, draped with the ropes that seem to have enabled the decapitation. Sooner or later most of the characters cling to and twist around those ropes, an apt stage metaphor for the remorseless repercussions from the murder of Agammenon by his unfaithful wife Klytämnestra and her paramour, Aegisthus. Reinhard Heinrich’s costumes capture a distant era while sustaining a creepily modern look — part Goth, part homeless, part Spa-wear.

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Distribution principale

Distribution et équipe complètes →
Claudio AbbadoClaudio AbbadoSelf - ConductorÉva MartonÉva MartonBrigitte FassbaenderBrigitte FassbaenderKlytemnästraCheryl StuderCheryl StuderJames KingJames KingFranz GrundheberFranz GrundheberOrchester der Wiener StaatsoperOrchester der Wiener StaatsoperSelf - Orchestra

Mots-clés

Opera

Movie DNA

Affinité de genreMusiquePréférence de réalisation396956 · 474799Préférence de casting505947 · 517139 · 396949Préférence de paysAtPréférence de décennie1980

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Frequently asked questions about Elektra

What is Elektra about?

Recorded at the Vienna State Opera house in 1989, this staging of Richard Strauss and Hugo von Hofmannsthal’s Elektra is one of the glories of live opera on film, deserving of eternal availability. The DVD picture has great clarity, despite the darkness of Hans Schavernoch’s set design. Other than the cliché of a huge statue head, toppled on its side, the set manages to be suitably representative of a decaying palace as well as an imposing, theatrical space, dominated by the mammoth body of the statue from which the head apparently dropped, draped with the ropes that seem to have enabled the decapitation. Sooner or later most of the characters cling to and twist around those ropes, an apt stage metaphor for the remorseless repercussions from the murder of Agammenon by his unfaithful wife Klytämnestra and her paramour, Aegisthus. Reinhard Heinrich’s costumes capture a distant era while sustaining a creepily modern look — part Goth, part homeless, part Spa-wear.