Richard Strauss/Hugo Von Hofmannstahl

Omroep Fryslan TV

Monoloog - Francis van broekhuizen

100 years of Elektra!

First in Dresden, now in the Frisian pastures!

Elektra, cruelly imprisoned in the labyrinth of her own hate, lives like a wild animal in the stalls of the palace of her mother, Klytemnestra.

She mourns her dead father, Agamemnon, who was murdered by her mother and Aegisthus, Klytemnestra's lover. She thinks of nothing but revenge.

Elektra can neither forget nor forgive.

Opera Spanga presents Elektra in a half-open tent with a stage that stretches to the horizon.

The fire of Elektra's hate runs like a long, raging, endless fuse extending into the pasture and beyond-- to infinity.



Elektra Francis van Broekhuizen
Klytemnestra Klara Uleman
Chrysothemis Maaike Widdershoven
Aegisth Charles Alves da Cruz
Orest Anthony Heidweiller
old servant, guardian Marcel van Dieren
young servant Jean-Michel Van Oosten
caretaker Talitha van der Spek
1st maiden, confidant Ekaterina Levental
2nd maiden Fenna Ograjensek
3rd maiden, trainbearer Madieke Marjon
4th maiden Hadewijch Voorn
5th maiden Britt Truyts
musical director David Levi
director Corina van Eijk
assistant musical director Wilko Jordens, Caterina Galiotto
assistant to the director Yorick Stam
art direction Jolanda Lanslots
costume design Pieter van Rooij
gaffer Henk Post
make-up artist Saskia Ellemeet, Maya Schiffers
producer Greetje Sluijs
assistant to the producer Linda Witpaard
engineer Henri de Bock
builders Lars Unger, Yotka Kroeze, Etiënne van Berlo
pr and ticketsales Bas Kleijn
office secretary Mieke Bender
catering Annemieke Delis, Zahra Belkaid

Ich kann nicht sitzen - Maaike Widdershoven

Final Scene Francis van Broekhuizen

Trouw reportage Hans Nauta



´But it must be said: this time the staging hits the mark. It is full of successful ideas, such as Elektra, who keeps counting out her steps so that she will be able to find the buried axe with which her mother must be murdered. The scene on the see-saw with Elektra and her returning brother Orestes has a touching, child-like pathos.´

Trouw, August 17, 2009

´...but in Spanga, where the concept 'traditional' is avoided like the plague, it worked. In spite of this light touch, the emotions, the oppressive feeling and the sense of the inevitable were palpable. The determination of the grim title heroine and the upbeat naiveté of Elektra's sister Chrysothemis (Maaike Widdershoven), fluttering around in her gold lamé gown as messenger between mama and the disenfranchised Elektra, were clearly presented. (...) I have just one piece of advice for anyone who does not like opera or who finds it an outdated art form: Go to Spanga.'

Leeuwarder Courant, August 17, 2009

'This time the vocal aspect also came together, and thus Spanga has succeeded in transforming a heavy drama into a vehement tent opera.'

Dagblad van het Noorden, August 17, 2009

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