photo: Anne Reinke


ELECTRA's show RACHE tells the tale of four murderesses who killed for revenge: Elektra, Marianne Bachmeier, Judith, and Kill Bill (The Bride).

Music by Boudewijn Tarenskeen

Michaela Riener: mezzo-soprano, bass drum/percussion
Diamanda Dramm: violin, voice
Susanna Borsch: recorders, voice
Saskia Lankhoorn: Hammond organ, Fender piano, synthesizer, piano, voice, percussion

The team of collaborators for RACHE: Boudewijn Tarenskeen (composer), Monica Germino (violin/voice/artistic advisor), Paul Koek (advice/direction), Wende Snijders (staging advice), Cecile Brommer (dramaturg), Micha de Kanter (sound design/artistic advice), Nico de Rooij & Djana Kovic (scenography and light design), Peter van Amstel (manager ELECTRA). Clothing sponsored by Leg-Inc.

RACHE premiered on 28 May 2015 in the Operadagen Rotterdam, and performance dates run through spring 2016. 

Information in English on the Rotterdam Opera Days website

ABLE TO BE: Retrospective CD/DVD released by Attacca Records

with music by Louis Andriessen, Corrie van Binsbergen, David Dramm, Donnacha Dennehy, Ron Ford, JacobTV. Film & images by Mark Linnane, AKI, & Colm Tobin, Vinex Productions, J.C. Mol, Pjotr ‘s-Gravesande.

"...we hear and see a tight ensemble with a strong inclination towards the vernacular in contemporary music" - Anthony Fiumara

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The New York Times

-by Allan Kozinn
about ELECTRA’s Lincoln Center debut

click for complete review

"…brilliantly played performance…an explosive energy …."

"…In Sonic Evolutions, Lincoln Center’s celebration of Dutch composer Louis Andriessen…the Dutch ensemble ‘s Andriessen works were theatrical and varied…"

"…Chiel Meijering’s rhythmically sharp-edged Milk en Luiman was hypnotic and, through a stream of energetic vocalizations, ritualistic…"

"…Using the ensemble’s full resources – voice, recorder, electric violin and percussion, as well as ample electronic effects – Donnacha Dennehy created a fabric of constantly changing textures that was often viscerally thrilling…"

"…Belinda Reynolds work’s kinship with Mr. Andriessen’s music was in the hypnotically repetitive percussion line, over which the violin traced an alluring melody …"