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Updated: June 24, 2025
If the bill happens to be a short one, say "Hänsel and Gretel" or "Elektra," the three thumps of the starting mallet may not come until eight o'clock or even 8:30, but if it is a long one, say "Parsifal" or "Les Huguenots," a beginning is made far back in the afternoon. Always the end arrives at ten, with perhaps a moment or two leeway in one direction or the other.
These abide by one, whereas the head in Salome has become vieux chapeau. When Ellmenreich sang to it that night it might have been a succulent boar's head on a platter for all the audience cared. But the Stuttgart Elektra performance will live long in my memory, but not because of the lady who assumed the title rôle, Idenka Fassbender, of Munich.
So works leave his writing table half-conceived, half-executed. The score of "Elektra" he permits his publishers to snatch from him before he is quite finished with it. He commences composing "Der Rosenkavalier" before having even seen the third act. The third act arrives; Strauss finds it miserable. But it is too late. The work is half-finished, and Strauss has to go through with it.
Lucy D. Lammermore may have been a lovely person, but to hear a lot of foreigners singing about her for three hours on a stretch does not appeal to me. I have a better use for my little two dollars. For that amount I can go to a good minstrel show and sit in a box. You may recall when Strauss' Elektra was creating such a furor in this country a couple of years ago.
"Elektra, Agamemnon's child, I reach thy habitation wild." At this their hearts were touched, and it appeared to them to be a shameful deed to destroy so famous a city, and one which had produced such great men.
Strauss is careless when he directs the works of others, but with his own he is all devotion. Take Elektra, for instance. But I must finish my Salome budget. The Herod was not the actor that was Karl Burrian, but he sang better. His name is Josef Tyssen. The John was Herman Weil. Salome was preceded by Feuersnot, the folks-tone of which is an admirable foil to the overladen tints of Salome.
For whereas in moments of the first sort the lions of the Mycenæ gates do at times snarl and glower, in those of the second it is the Teutonic beer-mug that makes itself felt. Elektra laments her father in a very pretty and undistinguished melody, and entreats her sister to slay Klytemnæstra to the accompaniment of a sort of valse perverse.
No, I expect Elektra took after her mother: red-haired girl, I fancy. But there you are. She was a lovely, solemn, deep-eyed, hag-ridden goose. Not a word to say thought mostly of pudding. I found that out by supposing that she thought of me. Then I was piqued, and we parted. I suppose she's vast now, and glued to an upper window-ledge with her great eyes peering through a slat in the shutter.
But did you, after all? Was it not that he loves me, and that he wanted to be deceived, wanted to be forced to do what he has done? I know him better than you. But you are right, he would have spoken to me about it if you had not warned him." "Then begin again " "You do not want me any more." The voice had an anguish like the cry of the tragic music in "Elektra."
By degrees the "Garrick Players," as they chose to call themselves, developed no little skill and craftsmanship in presenting one form and another of classic and semi-classic play. "Romeo and Juliet," with few properties of any kind, "The Learned Ladies" of Moliere, Sheridan's "The Rivals," and the "Elektra" of Sophocles were all given.
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