The blood-soaked plot often encourages directors to go for wild and grotesque, but Chéreau’s modern-dress vision, aided by on-stage titles, is far more subtle and low-key emphasizing the complex relationship between three women: Elektra and her mother and sister. She’s onstage for nearly all of the work’s 100-minute running time plotting revenge for the murder of Agamemnon by her adulterous mother Klytämnestra. The title role of Elektra is among opera’s most demanding. The Met’s version arrived on schedule in April 2016 with Chéreau’s assistant Vincent Huguet in charge of realizing the late director’s vision. Unfortunately, Chéreau died several months later at the age of 68. Elektra, his follow-up, premiered at France’s Aix-en-Provence Festival in the summer of 2013, a co-production between six companies. Afterward, any Chéreau opera became an event, and a devastating From the House of the Dead in 2009 demonstrated how much the Met had been missing. Chéreau, one of the supreme directors of his generation, finally arrived at the Met late in his storied operatic career which first shook the world when he mounted his controversial production of Wagner’s Ring at the 1976 Bayreuth Festival.
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