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Heavy Metal opera

4/11/2015

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If Richard Wagner prepared music drama to enter the 20th century, Richard Strauss kicked in the door to the 20th century door with his shock opera Salome (in 1905). Salome brought Strauss fame (and a villa in Garmisch-Partenkirchen); in that opera he drilled into the deepest layers of human degeneration with unprecedented musical intensity. In the follow-up to Salome, Strauss went even a few steps further. With its weals and woes in the house of Atreus, Elektra took domestic relations to new dystopian lows and drama in the genre of opera to new (musical) heights.

I'm not expecially fond of so called cross-over. I don't look for a Walkürenritt played on an electric guitar, it takes away some of its substance and I don't prefer a Metallica song played with violins, it takes away an important part of its heaviness. Elektra is heavy, both in substance and sound and a stainless-steel memo that good music transgresses genres (makes them obsolete). If any opera deserves the term Heavy Metal Opera, it is Elektra, a screaming-for-vengeance music drama that gives many metal acts a run for their money. 
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  • Home
    • Donnerwetter!
    • From Metal to Wagner
    • From Rush to Lohengrin
    • Franz Liszt - The First Rock Star
    • The Wagner - Strauss connection
    • The day of Wagner & Heavy Metal
    • Classical picks
  • Latest
    • Ein Holländer in Bayreuth 2014
    • Ein Holländer in Bayreuth 2017 - Meistersinger
    • Ein Holländer in Bayreuth 2017 - Der Ring
    • Ein Holländer in Bayreuth - Parsifal 2018
    • Ein Holländer in Bayreuth - Parsifal 2023
    • Ein Holländer in Bayreuth - Tannhäuser 2023
  • One Ring to rule them all
    • Wagner & Tolkien: Ring to Ring
    • Die Nibelungen (Fritz Lang 1924)
  • Metal Section
  • Nederlands
    • De kluis (recensies)
    • Trip naar Bayreuth (2014)
    • De tovenaar van Bayreuth (2014)
    • Bayreuther Meistersinger (2017)
    • Bayreuther Ring (2017)
    • Parsifal in Bayreuth (2018)
  • Contact