I always enjoy hearing about buried secrets in Elektra! Now I will always think of the guillotine. I’ve always thought that the crashing Agamemnon chords at the end signified the Furies already pursuing Oreste.
I am so sick of comparing Salome to Elektra; they are two very different operas. More should be said about their _differences_ than their similarities.
This is true. There are more passages in Rosenkavalier, of all things, that are reminiscent of Elektra. I find almost nothing similar between Salome and Elektra, other than they were both written by Strauss, are both relatively short, and both are centered around one central character. I don’t hear any similarities in the music.
I always enjoy hearing about buried secrets in Elektra! Now I will always think of the guillotine. I’ve always thought that the crashing Agamemnon chords at the end signified the Furies already pursuing Oreste.
I am so sick of comparing Salome to Elektra; they are two very different operas. More should be said about their _differences_ than their similarities.
This is true. There are more passages in Rosenkavalier, of all things, that are reminiscent of Elektra. I find almost nothing similar between Salome and Elektra, other than they were both written by Strauss, are both relatively short, and both are centered around one central character. I don’t hear any similarities in the music.