In 2011, Netherlands Opera staged the tragedies of the House of Atreus of Greek mythology. To follow Mozart's Idomeneo, Gluck's two Ihpigenias and Strauss's Elektra, there was also a new work from Manfred Trojahn, his sixth music theatre piece. Orest, based upon Euripedes' drama, takes up the story of Orestes and his sister Elektra after their murder of their mother, Clytemnestra, and ends with Orestes' murder of Helen of Troy, and his uncertain future, perhaps with Helen's daughter Hermione, who is apparently immune to the curse hanging over the royal house. Trojahn's score takes up where Strauss's Elektra leaves off, moving into high-voltage expressionist territory that brings it close to the world of Berg's Wozzeck, especially in the writing for Orestes, which seems perfectly tailored to the histrionic strengths of baritone Dietrich Henschel's singing. The whole tragedy is over in 75 minutes, and the impact is impressive, especially in this terrific performance under Marc Albrecht, with the rest of the cast, especially the trio of women, Rosemary Joshua as Helen, Sarah Castle as Elektra and Romy Petrick as Hermione, easily matching Henschel's dramatic involvement.