REDAKSIONEEL / EDITORIAL

P.J. Conradie

Abstract


Die meeste klassici sou geneig wees om enigsins neer te sien op die opera en sou beslis nie
reken dat die bestudering van 'n opera tot die beter verstaan van 'n Griekse tragedie sou
kon lei nie. Tog het twee klassici in die onlangse verlede in besprekings van Strauss en
Hofmannsthal se Elektra juis dit beweer. In 'n artikel "Elektra: Sophokles, Von
Hofmannsthal, Strauss"! s~ Michael Evans die volgende: "Hofmannsthal and Strauss, far
from travestying Sophokles' play, have responded to its powerful depiction and indictment
of the consequences of an amoral obsession with revenge. Their own diagnosis and
portrait, in twentieth century terms, of the corruption which the desire for revenge and the
aftermath of its fulfillment, can bring a 'reading' of Sophokles at least as important and
interesting as any modem book or article about the ancient playwright. • Marianne
McDonald kom in haar artikel "Elektra's kleos aphthiton: Sophokles into opera" ,2 tot
dieselfde gevolgtrekking: "I maintain that these two emotions - the profound response of
the modem audience to the seemingly alien matter of ancient tragedy, and the elevating and
universalizing effect of music - make the experience of a modem opera based on a Greek
tragedy an extraordinarily demanding and rewarding one. The Elektra by Sophokles can be
better understood if read against modern times and in particular against the opera by
Strauss and Hofmannsthal."

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DOI: https://doi.org/10.7445/39-2-520

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ISSN 2079-2883 (online); ISSN 0303-1896 (print)

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