On today’s date in 1909, Richard Strauss’s opera “Elektra” had its premiere in Dresden. The libretto, a free adaptation of the grim, ancient Greek tragedy by Sophocles, was by the Austrian poet and playwright Hugo von Hofmannsthal.

In ancient Greek tragedies, violence occurred off-stage, and for his libretto, Hofmannsthal honored that tradition. But the music of Strauss evoking the tragedy’s violence unleashed a huge orchestra with a ferocity that stunned early listeners.

After its American premiere, one New York critic wrote of “a total delineation of shrieks and groans, of tortures physical in the clear definition and audible in their gross realism . . .Snarling of stopped trumpets, barking of trombones, moaning of bassoons and squealing of violins.”

Even Strauss himself later admitted “Elektra” (quote) “penetrated to the uttermost limits of … the receptivity of human ears,” and what he called his “green horror” opera might cause him to be type-cast as a purveyor of creepy-crawly music. And so, Strauss prudently suggested to Hofmansthal “Next time, we’ll write a MOZART opera.”

Almost two years later to the day, on January 26, 1911, their “Mozart” opera, ”Der Rosenkavalier,” or the “The Rose Bearer” premiered. It’s set in 18th century Vienna, and for this opera Strauss included anachronistic, but eminently hummable waltz tunes.