|Deborah Polaski and Éva Marton sing an excellent "Elektra" in the Liceu, only tarnished by the horrible scenography and the wardrobe of bad taste of the joint production among the Gran Teatre del Liceu and La Monnaie de Brussels.|
When Richard Strauss composed "Elektra", in 1909, Europe had already started its more self-destructive century, with the Franco-Prussian war of 1870, the revenge of which would be the imminent First World War of 1914-1918, where millions of Europeans would die and that would give as new fruit of revenge the Second World War of 1939-1945. The three destructive wars of the opponent seem work of men, but the opera of Strauss centers its expressionist music in the woman, for arriving to the background. It explains to us that the total revenge is the cause of the joy of the heart of the woman, in her version of daughter -Elektra- as well as of wife and mother -Chrysosthemis-.
Both sisters, Elektra and Chrysosthemis, are really a split woman alone, both faces of the total and complete woman: the daughter, wife and mother.
The revenge -the destructive war of the opponent- has to be carried out, naturally, by the men; but it is the heart of the women where it is born, is nourished and grows until become the happiness of everybody and the terrible basis of the social order, that will only be possible once attained.
Sophocles, in his tragedy "Elektra", already explored the feminine soul with depth, invariable along three thousand years. Richard Strauss, in his opera "Elektra", expresses the bursting joy, until justifies all the life and, therefore, causes the death, which the revenge carried out for a man provokes in the heart of the daughter and the wife-mother.
Greece was conquered for the Romans and now in Europe, the primate of the Church Anglican asks that the sharia be constituted in England and the Turkish prime minister cries out that the assimilation of the descendants of the Turks immigrated to Germany is a crime against the humanity.