Sara Jakubiak

Queen Clytemnestra assassinates King Agamemnon. Their daughter, Elektra, lives for the day when her father's death will be avenged. Like a curse, the vendetta must be fulfilled, but is Elektra capable of committing the irreparable? At Grand Théâtre de Genève, the cogs of revenge are set in motion by director Ulrich Rasche, who imprisons the characters of Elektra in a spectacular scenic device: a steel tower weighing almost twelve tons in perpetual rotation. In the pit, conductor Jonathan Nott and his Orchestre de la Suisse Romande confront the musical challenges of Strauss' intoxicating one-act score. The female characters at the centre of the drama are sung by three artists of the highest calibre: Ingela Brimberg as Elektra, Sara Jakubiak as Chrysothemis and Tanja Ariane Baumgartner as Clytemnestra.

This 2021 Deutsche Oper Berlin performance is directed by Christof Loy and stars soprano Sara Jakubiak in the title role. Riccardo Zandonai’s Francesca da Rimini is a four-act opera set during the Renaissance period. The plot concerns an arranged marriage between Francesca and Giovanni, also known as Gianciotto, who is impersonated by his handsome brother Paolo, and with whom Francesca falls passionately in love.

The first-ever audio-visual recording of this opera – directed by Christof Loy, conducted by Marc Albrecht and with Sara Jakubiak, Brian Jagde and Josef Wagner in the leading roles

Die tote Stadt (German for The Dead City) is an opera in three acts by Erich Wolfgang Korngold to a libretto by Paul Schott, a collective pseudonym for the composer and his father, Julius Korngold; it is based on the 1892 novel Bruges-la-Morte by Georges Rodenbach.

Axel Köhler’s production of Der Freischütz at the Dresden State Opera was described by Die Presse as “a minor miracle in Dresden”. In the words of the Salzburger Nachrichten, Köhler “scored a bulleye” with his sombre and satanic interpretation of Weber’s Romantic opera about love, temptation, souls sold to the Devil, obsession andfaith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of “mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening.”