Rosalind Plowright (Klytämnestra), Kimberly Giordano (Confidante), and Dana Johnson (Trainbearer), with supernumeraries and actors in Seattle Opera's "Elektra." Photo Rozarii Lynch.

I went to the opening last night of Seattle Opera's "Elektra"--and it was worth every wait in the Seattle traffic.

Written by Richard Strauss, "Elektra" premiered in 1909, and though it had a hugely successful run it frightened a lot of people. It tells the tale of Elektra, daughter of King Agamemnon of Mycenae, who had been murdered by his wife Klytemnestra and her lover. Klytemnestra then banished her son Orest and spent 10 years beating and starving Elektra, who plots revenge--the point where the opera starts. It's a tale of obsession, insanity and murder, with music to match: stark dissonances and harsh brass convey Elektra's mania, unearthly effects hint at the looming presence of death.

Seattle Opera's production takes all this and drives it in to the hilt. Against a set as oppresive as a tomb (Wolfram Skalicki), the cast sing their 100 straight minutes of full-volume opera (there's no intermission) with a passion, led by the three main women. Soprano Janice Baird here makes her West Coast debut in a stunning fashion. Her Elektra is tragic and convincing, her voice sweet even at its most powerful. If there's a fault, it's that she's just too beautiful to be the crazy, rag-wearing hag that the text describes--maybe she needed a few more dreadlocks and dirt.

Janice Baird as Elektra. Photo Rozarii Lynch.

Mezzo Rosalind Plowright delivers a psychological masterpiece as Klytemnestra, agonized between killing and the ruin of her life. Costumer Melanie Taylor Burgess here creates a terrific wrap dress under the Queen's robes, which clings to her like a shriveled shroud. And as Elektra's sister, Irmgard Vilsmaier is the perfect example of someone who's retreated beyond reach into denial.

Rosalind Plowright (Klytämnestra) with Kimberly Giordano (Confidante) and Dana Johnson (Trainbearer). Photo Bill Mohn.

But the crowing glory of "Elektra"--and what sustains you through the interminable, action-less ranting, is Richard Strauss' score: big, demanding, difficult and disturbing. The orchestra's brass and expanded woodwind played cleanly and dramatically.

Baird returns next year as Brunhilde in SO's Ring Cycle--can't wait to see her then. Meanwhile, "Elektra" gives plenty of bang for the buck.

But wait, there's more! McCaw Hall just opened their new restaurant, Prelude. Be smart, and reserve way in advance (206-615-0404). I didn't, so I can't tell you much about it except that it looks more like German beer hall than fine dining. However, if you don't get a table you can still eat appetizers from the promenade level Barista cafe, sitting at nearby bar tables. The food's tasty-- our olives were piquant, the almonds brushed with oil, the Laura Chenel goat cheese excellent. The cheese platter was dry and rather similar-tasting, and the crostini a bit too crusty. Add in two glasses of tangy Fourteen Hands merlot, and you have a light meal for two for $40.

Other things on the menu are salami with apples and pumkin, albacore with egg and aioli, and pork rillettes with green tomato confiture. There's a good wine selection, and if you make it into Prelude there are six entrees (all meat) and five salads as well, plus dessert.

"Elektra" runs Oct. 22, 25, 26 (2 p.m.), 29 31 and Nov. 1, all evenings at 7:30 p.m. Tickets start at $25. 206-389-7676, 800-426-1619, www.seattleopera.org.