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The Baden-Baden Easter Festival presents an extraordinary performance of Elektra, with Nina Stemme in the title role and the Berliner Philharmoniker, led by Kirill Petrenko, in a stark and modern production. 

Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.

Balázs Kovalik’s interpretation of Elektra is revived in Budapest, impressing until the B-movie cliché finale. 

Two sopranos bring intensity and tenderness to Strauss’ powerful opera in a revival of the timeless production by Patrice Chéreau.

More of a distraction than an enhancement, Ulrich Rasche’s giant steel machine grinds down the performers of this dark Elektra, which ultimately stumbles over its own feet.

An Elektra conducted like Mendelssohnian fairy music, sung not shouted, just as Strauss required.

"She commands the stage, she commands the notes, she commands the tension": Christine Goerke's portrayal of Elektra haunts The Met. 

A quasi-concertante setting highlights Theorin's masterful performance as Elektra, Cornelia Beskow's fragile, human Chrysothemis and Katarina Dalayman's haunting Klytaemnestra.

German theatre director Uwe Eric Laufenberg freely incorporates some of Stanley Kubrik’s horror story concepts into his Elektra, but in ignoring both Sophocles and Strauss, is a long way from shining.  

A thought-provoking production and killer cast make San Francisco Opera's Elektra top-notch music drama.

A classic production of Strauss' searing operatic depiction of the House of Atreus is revived with a particularly accomplished cast and musical direction.

Iréne Theorin gives a powerful interpretation of Salome and Elektra's mad scenes in a concert including Also sprach Zarathustra and a contemporary composition.

A reading full of emotion from conductor Juraj Valčuha sets up one of the best San Carlo Orchestra’s performances of this season.

Evelyn Herlitzius and Adrianne Pieczonka are unsinkable in the the French director's final production, conducted with impressive symphonic sweep by Daniel Barenboim. 

The main problem with Keith Warner's staging is that the director’s dominating focus is on the Jungian ‘Elektra complex’ rather than Elektra the opera.

The late director Patrice Chéreau's last work, Elektra, was brilliantly realized at the Met, with special credit to conductor Esa-Pekka Salonen and soprano Nina Stemme.

Elektra, as performed during the Deutsche Oper Berlin Strauss-Wochen: Such gorgeous music, we will all want to dance ourselves to death.

Opéra de Montréal's belated première of Strauss' take on the Greek tragedy is worth the wait, as soprano Lise Lindstrom and wunderkind conductor Yannick Nézét-Séguin lead an exciting, music-driven production.

A pure and intense evening of music, which deserved the warm ovation of the audience at the end of the execution. 

Andris Nelsons, the Boston Symphony Orchestra and Christine Goerke give a breathtaking, frenzied performance of Strauss's hate-filled opera, whose score still jars today.

Nina Stemme makes a memorable role debut as Elektra in Vienna in a new production set in a coal-filled basement of a 1910 Viennese town house.

Who needs scenery anyway? A blistering Elektra from Semyon Bychkov, starring Christine Goerke, lights up the BBC Proms by sheer force of performance. 

In the Royal Opera revival of Richard Strauss’s Elektra, the overwhelming theme is blood, both metaphorical and literal.

Between acts, and between shows, the stage at Chicago’s Civic Opera House is usually blocked from view by a solid mural painted with baroque figures in gold – perhaps the gaudiest feature of an already fussily ornate hall. The gilt-painted screen was up, however, for Elektra, the first show of the Lyric Opera’s new season (along with Verdi’s Simon Boccanegra, which runs concurrently).