Review: San Francisco Opera stages over-the-top ‘Elektra’

Cory Weaver/San Francisco Opera via Bay City News

Elena Pankratova portrays the title role in San Francisco Opera's "Elektra" onstage through June 27, 2026 in San Francisco, Calif.

San Francisco Opera’s explosive, over-the-top “Elektra,” a revival of Keith Warner’s 2017 production, features a fine cast and a massive orchestra of 95 players, the largest ever in the house to date.

The Richard Strauss opera with a libretto by Hugo von Hofmannsthal tells a horrific tale taken from Sophocles about what could easily win the all-time dysfunctional family award.

The work calls for no less than three vocal powerhouses: Elektra, who wants to avenge her father Agamemnon’s murder; her mother Klytemnestra, guilty of the crime; and her sister Chrysothemis, who supports Elektra but really just wants a life — babies and a warm hearth and home.

The trio is stunning dramatically, and despite some vocal unevenness, their narrative is forcefully carried through. Russian soprano Elena Pankratova’s Elektra (her role debut) is deeply engaged, but her voice is covered at times by the orchestra, leaving only her substantial, well-crafted high lines.

San Francisco Opera’s production of Richard Strauss’ “Elektra,” onstage through June 27, 2026 in San Francisco, Calif. is set in a museum.(Cory Weaver/San Francisco Opera via Bay City News)

Elsa van den Heever as Chrysothemis and Michaela Schuster as Klytemnestra muster through; van den Heever’s brilliant, forceful voice is a good match for Strauss’ almost merciless score.

As their long-lost brother Orest, who eventually does the deed, bass baritone Kyle Ketelson is handsome vocally and physically, and tenor William Burden is fine as Aegisth, Klytemnestra’s partner-in-crime, who shows up only briefly at the killing field.

Strauss’ music is a monster: dissonant, lyrical and just plain loud, it tells the tale superbly. San Francisco Opera Music Director Eun Sun Kim leads the orchestra through both dark and lyric passages with great passion and detail.  One could fairly say the production belongs to the orchestra.

Warner’s production, staged by Anja Kühnhold, takes place in a museum gallery housing exhibits about the Elektra story. One museumgoer who decides to stay after closing time becomes Elektra, and the narrative begins. 

There is nothing quite like a Strauss crowd. The June 11 performance got the top possible approval rating, with audience adulation lasting well beyond the curtain calls. 

San Francisco Opera’s “Elektra” continues at 7:30 p.m. June 19, June 23 and June 27 at the War Memorial Opera House, 301 Van Ness Ave., San Francisco. Tickets are $29 to $447 at sfopera.com


The post Review: San Francisco Opera stages over-the-top ‘Elektra’ appeared first on Local News Matters.

Leave a Reply

The Exedra comments section is an essential part of the site. The goal of our comments policy is to help ensure it is a vibrant yet civil space. To participate, we ask that Exedra commenters please provide a first and last name. Please note that comments expressing congratulations or condolences may be published without full names. (View our full Comments Policy.)

Your email address will not be published. Required fields are marked *