Elektra is
of supreme difficulty, perhaps the most taxing of all dramatic soprano
roles. A cursory look at the score shows Elektra sings eight B-flats
and four high Cs; she is on stage for most of the time during the duration
of the opera (Solti's uncut version takes 108 minutes; standard cuts
bring performance time to about ten minutes less). The final
notes sung by Elektra as she dances herself to death, are to the text "Wer
glücklich ist wie wir, dem ziemt nur eins: schweigen und
tanzen!" ("There is only one thing fitting for those
happy as we: to be silent and dance!"). The word "und" is
a D# on the staff, "tanzen" starts with an A# above the staff,
with the last syllable a low F#. However, it is seldom one
hears this concluding low note, even on a recording. Some sopranos
(Astrid Varnay and Ursula Schroder-Feinen) change the score and on
the last note after the A# instead of singing a low F#, sing a high
B—a stunning effect; the entire orchestra is about to conclude
the opera with those smashing C-major chords. It is to both soprano's
credit that they are able to sing this additional high B at the end
of this demanding role. In addition to the Schröder-Feinen's
1977 live performance mentioned in this article she also sang the added
high note in a concert performance with Lorin Maazel in January 1974
which I remember vividly from my broadcast days when the station where
I worked carried weekly Cleveland Orchestra concerts. Astrid Varnay
sang the added high note (brilliantly!) in her 1949 New York Philharmonic
broadcast with Mitropoulos (just now issued on CD), her 1954 New York
Philharmonic broadcast also with Mitropoulos (not yet on CD), and her
1964 Salzburg performance with Karajan (not quite as good), but she
doesn't attempt it in her 1953 German radio performance. Yet to appear
on CD is the 1952 Met broadcast conducted by Fritz Reiner.
The role of
Chrysothemis also is loaded with those high notes Strauss liked so
much for sopranos, including 5 B-flats. Klytämnestra's role is
mostly on the staff or just above—after all, the part is written
for a mezzo-soprano. This tragic story does contain a rather comic
exclamation, by Chrysothemis, when she rushes onto the scene where
her mother has emitted two bloody screams as she was being murdered,
and sings, "Es must etwas geschehen sein" ("Something
must have happened"). Indeed, it did!
Elektra contains
no "arias" as such. Much of the opera is almost non-melodic,
rather anticipating "sprechstimme," a use of the voice midway
between speech and song used by Schoenberg in Pierrot Lunaire in
1912. Elektra's opening Monologue might be considered an "aria" as
well as Chrysothemis' music in which she sings of her desire to be
a mother ("Du bist es, die mit Eisenklammern mich...") Although Elektra has
been recorded a number times in the past half-century (usually with
small cuts), such was not the case for decades after the 1909 premiere
in Dresden. When the British premiere took place the following year
the Gramophone Company listed four single-sided acoustic records of
scenes sung by "Miss Perceval Allen" and "Mr. Frederic
Austin." Allan was heard in music of both Elektra and Chrysothemis,
Austin in part of the Recognition Scene. Thila Plaichinger, who created
Elektra in Berlin, made two ten-inch acoustic records of part of the
Recognition Scene with Baptist Hoffmann as Orest. The first major recording
was in 1947 when HMV, at the request of RCA, recorded the Recognition
Scene and an abbreviated version of the finale (see Beecham review).
For many collectors the first initiation to Elektra was the
Cetra recording live from the 1950 Florence May Festival with Anny
Konetzni, Dani--za Ilitsch as the sister, Martha Mödl as Klytämnestra
and Dimitri Mitropoulos conducting—an exciting if inadequately
sung performance, poorly recorded, now available at budget price. Also
of interest is a live concert performance (which I have not heard)
of an excerpt from the Recognition Scene sung by Kirsten Flagstad in
Berlin in May 1952. She never sang the entire role—had she, that is
something I'd like to have heard! Also available briefly was
an early '60s recording of the Recognition Scene with Christa Ludwig
and Walter Berry as Orest—superb, and considering how successful
Ludwig was as the Dyer's Wife she could have sung the entire opera.
It is reported that Böhm, Karajan and Leonard Bernstein unsuccessfully
urged her to do so—however she did later sing Klytämnestra
with great success.
Solti /Nilsson/Vienna Phil/
1967 |
Böhm/Nilsson/Vienna/1965 |
Sawallisch/Nilsson/RAI/1971
|
SIR GEORGE SOLTI / Vienna Philharmonic Orchestra
Birgit Nilsson (Elektra); Marie Collier (Chrysothemis); Regina Resnik
(Klytämnestra);
Gerhard Stolze (Aegisth); Tom Krause (Orest)
LONDON 417 345 (2 CDs) (recorded 1967)
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This actually is Solti's second recording of music from Elektra -
he had recorded excerpts with Christel Goltz for Polydor/American Decca. This
1967 Decca recording of the complete opera offers a stunning performance with
Birgit Nilsson in her prime in one of her greatest roles. Her singing is astonishingly
secure and powerful—the conclusion of Elektra's confrontation with Klytämnestra
is hair-raising as Nilsson like a force of nature latches onto those high notes
(an A# on the word "lebt," a C on the word "jauchzt" and
a B flat on the word "freun!" Regina Resnik's diabolical Klytämnestra
is perfect, the two major male roles strongly cast. The only vocal weakness
is Marie Collier's Chrysothemis which, although well sung, is rather nondescript.
Solti is in his element in this score and, with the Vienna Philharmonic in
virtuoso form, this is a remarkable set. Sonically this recording still astounds—John
Culshaw at his most imaginative, with a broad sound-stage and the VPO almost
overpowering the singers—which is as it should be.
KARL BÖHM / Vienna State Opera
Birgit Nilsson (Elektra); Leonie Rysanek (Chrysothemis); Regina Resnik (Klytämnestra);
Wolfgang Windgassen (Aegisth); Eberhard Waechter (Orest)
STANDING ROOM ONLY SRO 833 (2 CDs) (rec. live 1965)
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Böhm's 1965 Vienna recording is essential for all lovers of Elektra. What
a cast! Nilsson, Rysanek and Resnik, with Windgassen and Wächter as the
men, and all at their best. From Aegisth's death to the end of the opera everything
is at white heat—and what a pleasure to hear Nilsson and Rysanek in full
glory. Among the serving maids you'll find Gundula Janowitz, at the beginning
of her career which later (1973) would include one of the top recordings of
Strauss's Four Last Songs (with BPO/Karajan). The mono sound is excellent and
well-balanced. The set is a feast for lovers of Nilsson and Rysanek—and
the generously filled disks ( 78:01 & 74:31) have intriguing bonuses. Rysanek
is heard in a powerhouse performance of the Salome finale from 1974 with Ferdinand
Leitner on the podium, Nilsson in the final scene sung in Swedish in 1954 with
Sixten Ehrling conducting as well as several scenes from Acts II and III of
Walküre, with Nilsson as Brünnhilde, Rysanek as Sieglinde, including
the scene where Rysanek screams (not written in the score) as Siegfried is
killed, as well as that magnificent moment when Sieglinde realizes she will
have a son. Absolutely essential for Strauss/Wagner lovers. WOLFGANG SAWALLISCH /
RAI Orchestra
Birgit Nilsson (Elektra); Ingrid Bjoner (Chrysothemis); Viorica Cortez
(Klytämnestra);
Timo Callio (Aegisth); Thomas Stewart (Orest).
OPERA D'ORO OPD 1300 (2 CDs) (rec. live July 8, 1971)
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A magnificent performance with Nilsson
at her best. Here she proves that the almost superhuman, forceful singing she
did in the Decca Solti recording four years earlier can also be done in a live
performance without amplification. Right from the
start she is stunning—and the supporting cast is first-rate. Viorica
Cortez' Klytämnestra is outstanding—she actually sings all the notes,
and Ingrid Bjoner is a perfect foil for Nilsson. Thomas Stewart's big sound is
imposing as Orest—one really gets the impression he can do the deadly deed.
Sawallisch is as impressive here as he is in his complete recording (see below)
with the Italian radio orchestra playing beyond their capacity. Reproduction
is superb mono. Packaging is bare, track identification
approximate—but the price is budget.
Böhm / Goltz / Bavaria / 1955
|
Böhm/Schroeder-Feinen/Munich/1977 |
Karajan / Varnay/Salzburg1964 |
KARL BÖHM / Bavarian State Opera Orchestra
Christel Goltz (Elektra); Leonie Rysanek (Chrysothemis); Jean Madeira
(Klytämnestra);
Franz Klarwein (Aegisth); Hermann Uhde (Orest).
GOLDEN MELODRAM GM 30049 (2 CDs) (rec. live Aug. 26, 1955)
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Goltz was one of the leading Elektras of the '50s and one of Böhm's favorite
singers of the role. This performance finds the conductor more leisurely than
usual in the first third of the opera. Goltz sang more than 100 performances
either in Vienna or Munich during that period. She never had a particularly
attractive voice, but it was of remarkable volume for such a slight woman.
She begins unsteady and, unfortunately, doesn't improve much. No question she
must have been exciting to watch. This is perhaps Madeira's finest singing
of Klytämnestra; I hope she didn't do the blood-curdling screams in this
recording; it might have damaged her voice! The real jewel of this performance
is Rysanek's Chrysothemis, caught early in her career (two years after the
Kraus-conducted performance above) and sung with full-bodied gusto—it
is thrilling indeed. The sound is remarkable clear for its age, and there are
many stage sounds that add to the excitement. Goltz (b.1912) was a dancer before
she became a singer (she was "discovered" by Böhm ). She had
a trim, slight figure; her performances were always active physically as evidenced
by the many stage sounds clearly heard. It is said that her " Dance of
the Seven Veils" in Salome was carefully choreographed and highly believable.
When performing Salome she would leap over Narraboth's dead body after he killed
himself. Let us hope, for the sake of Narraboths of the world, that other less
lithe sopranos don't attempt this! Some may wish to have this recording for
Rysanek's early Chrysothemis.
KARL BÖHM / MUNICH NATIONAL THEATER ORCHESTRA
Ursula Schröder-Feinen (Elektra); Leonie Rysanek (Chrysothemis); Astrid
Varnay (Klytämnestra); Hans Hopf (Aegisth); Theo Adam (Orest)
BELLA VOCE BLV 107.245 (2 CDs) (recorded July 17, 1977 in Munich)
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This is a superb performance of enormous interest from July 17, 1977 in Munich
with Böhm conducting and Ursula Schröder-Feinen in the title role.
Her voice is quite similar to Birgit Nilsson's, secure in pitch and voluminous.
She is ideal for Elektra, a role she sang three times at the Met in 1976 (she
also sang 6 performances of the Dyer's Wife in Die Frau Ohne Schatten in 1978,
4 Salomes in 1973 and 2 Siegfried Brünnhildes in 1972). As mentioned above,
she and Astrid Varnay are the only sopranos I know of who make the role more
difficult by adding a high B at the finale. Here we also have Rysanek in resplendent
voice in one of her best roles, and Varnay in fine form after the switch from
the title role to the queen. Hopf and Adam are perfect in their roles and again
Böhm shows he is master of this music. Unfortunately, a solo clarinet
jumps the gun just before one of the loud closing chords. Varnay also sang
the queen in the 1981 Böhm video production, made shortly before his death,
which featured Rysanek in her only Elektra, with Caterina Ligendza as Chrysothemis.
Rysanek sang the title role at the insistence of Böhm; this was released
on DVD in 2005 (see REVIEW). It was a memorable performance if only for Rysanek's
Elektra and Böhm's conducting. The two CDs (60:30 and 68:14) offer a bonus
in the form of nearly a half-hour of excerpts from Die Frau Ohne Schatten from
a July 26, 1975 Salzburg performance focusing on Schröder-Feinen's Dyer's
Wife; others in the cast are James King, Leonie Rysanek and Ruth Hesse with
the Vienna Philharmonic conducted by Karl Böhm.
HERBERT VON KARAJAN / VIENNA PHILHARMONIC ORCHESTRA
Astrid Varnay (Elektra); Hildegard Hillebrecht (Chrysothemis); Martha Mödl
(Klytämnestra); James King (Aegisth); Eberhard Waechter (Orest)
ORFEO C 298 922 1 (2 CDs) (rec. live Salzburg Festival August 17, 1964
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In the mid-'30s Herbert von Karajan, then at the beginning of his remarkable
career, led a performance of Elektra. Strauss was present and it is said that
at the conclusion the composer leaped to his feet and shouted "Bravo!"—it
was at his wish the Grosse Festspielhaus was built—and he dominated the
European musical scene for more than three decades. During this time he presented
his own conception of operas including Il trovatore, Don Carlos, Otello, Carmen,
Boris Godunov, Der Rosenkavalier, Salome and the complete Ring all of which
he recorded usually prior to the Salzburg presentations. For whatever reason,
Karajan elected not to record Elektra commercially; he told Astrid Varney it
caused him "much emotional strain." For that reason this document
is important as it shows the egocentric conductor in an opera not available
otherwise in his interpretation. The performance is impressive in its own way
but Karajan's often leisurely tempi make great demands on the singers. Varnay
starts out tenuously improving considerably after the duet with Chrysothemis;
this is not one of her best performances—although she does add that extra
high B at the end. Hildegard Hillebrecht's Chrysothemis is fine as is veteran
Martha Mödl's queen. The Austrian Radio's mono sound is adequate; voices
can always be heard and there is an appropriate sense of perspective. For whatever
reason, timpani are very present covering up some orchestral detail.
Ozawa / Behrends / Boston /1988
|
Mitropoulos / Borkh . New York Phi / 1958
|
Kleiber / Wurttenburg / Steger / 1971
|
SEIJI OZAWA / Boston Symphony Orchestra
Hildegard Behrens (Elektra); Nadine Secunde (Chrysothemis); Christa
Ludwig (Klytämnestra); Ragnar Ulfung (Aegisth); Jorma Hynninen
(Orest).
PHILIPS 422 574 (2 CDs) (rec. live 1988) (reissued on Philips Duo - 464 985)
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This concert performance with the Boston Symphony is excellent
in many ways. Hildegard Behrens is superb, right-on for those
high notes, and I like the
way she slides off the final A# - an appropriately maniacal effect. Throughout
her characterization is strong, the drama intense. Christa Ludwig is in the
same class (I wonder what the audiences thought in the concert performance
when Ludwig does that series of hysterical laughs—and the screams as
she is murdered?). Unfortunately Nadine Secunde's Chrysothemis isn't up to
her associates' standard. The men are fine, and the Boston Symphony produces
beautiful sounds. Ozawa doesn't generate much excitement (which can also be
said of his slack recording of Salome)—there is little of the demonic
drive of many other conductors, particularly Solti, Böhm, Reiner and Mitropoulos.
Admirers of Behrens and Ludwig surely will wish to have this recording.
DIMITRI MITROPOULOS / New York Philharmonic Orchestra
Inge Borkh (Elektra); Frances Yeend (Chrysothemis); Blanche Thebom (Klytämnestra);
David Lloyd (Aegisth); Giorgio Tozzi (Orest).
ARKADIA CDMP 459-3 (3 CDs) (rec. live March 6, 1958) (also contains complete Salome with
Borkh/Vinay/Thebom/Harrell/Mitropoulos from the Metropolitan Opera Feb. 2,
1958, and Salome, from the Dance to the conclusion, with Christel Goltz/Mitropoulos/Metropolitan
Opera Jan. 8, 1955)
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Superb! Both Inge Borkh and Frances Yeend had sung in a 1956 concert performance
of Elektra with Fritz Reiner and the Chicago Symphony, and at that time recorded
excerpts from it with brilliant success (see above). Here are the same singers
two years later in this somewhat abridged concert version, both in top form.
And here we have the magnificent and carefully sung Klytämnestra of Blanche
Thebom (misspelled "Thebon" in the notes), one of the most tasteful
singers of her time, whose artistry has been unjustly neglected by recording
companies. Mitropoulos again shows that he is master of this music, and the
super-clear analog broadcast sound captures the performance vividly. As listed
above, the 3 CD set also contains an excellent Met Salome with Borkh and Thebom
and the conclusion of Salome in a 1955 Met broadcast of the same opera with
Christel Goltz, Thebom as Herodias, all conducted by Mitropoulos. This is an
essential set for all Strauss lovers.
CARLOS KLEIBER / WÜRTTEMBURG STATE OPERA ORCHESTRA
Ingrid Steger (Elektra); Enriqueta Tarres (Chrysothemis); Martha Mödl (Klytämnestra);
Wolfgang Windgassen (Aegisth); William Wildermann (Orest)
CONNOISSEUR GM 6.0011 (2 CDs) (rec. live Stuttgart June 17, 1971)
A promising—but frustrating—issue. Much in demand in the conducting
world, Carlos Kleiber appears only when he feels like it and refuses most offers.
One can only wonder why he accepted this Stuttgart engagement if he had any idea
who was going to be singing. Ingrid Steger, who started her career in the mid-'60's
in Eastern Germany is, according to CD notes, "a much sought-after exponent
of Elektra," and Spanish-born Enriqueta Tarres who in 1964 became a member
of the Hamburg Opera, are totally inadequate. I cannot imagine what Kleiber,
a stickler for perfection, must have thought during rehearsals and this performance.
From a vocal standpoint the two leading sopranos are a travesty, almost comical
in their ineptness, rather reminding me of the fiasco in Citizen Kane when
Susan Alexander Kane, at the insistence of her husband, attempts to sing an aria
from Salammbó (composed by Bernard Hermann).. By commparison,
Martha Mödl is balm for the ears, a reliable artist in reasonable form.
Kleiber's interpretation is in the1848 Mitropoulos/Reiner tradition but this
recording has minimal interest vocally. Tragic! The sound is adequate to convey
the performance.
However, there hope for fans f Carlos Kleiber—a pirate live 1977 London
recording with Birgit Nilsson and Gwyneth Jones (both at their best) as the two
sters. It is stunning, obviously recorded from the audience, butaudio that does
justice to the incandescent performance.
Mitropouos / 1850 Florence May Festival |
Mitropoulos, New York Phil / 1949 |
Mitropoulos/Vienna/1950 |
DIMITRI MITROPOULOS / FLORENCE MAY FESTIVAL ORCHESTRA
Anny Konetzni (Elektra); Danitza Ilitsch (Chrysothemis); Martha Mödl (Klytämnestra);
Hans Braun (Aegisth); Franz Klarwein (Orest)
WARNER CLASSICS 43560 (2 CDs) (rec. live 1951)
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This live performance from the 1950 Florence May Festival was available decades
ago on Cetra LPs and for many listeners was their introduction to the opera.
The role of Elektra is beyond Anny Konetzni; she lunges at high notes, missing
most and not even attempting some. Her final note is a pathetic, desperate
cry. Ilitsch's lighter voice might seem appropriate for the role of Chrysothemis,
but she is edgy and skimps on note values. The two men are excellent as is
the always dependable Mödl. Mitropoulos, who the year before had presented
a concert performance with the New York Philharmonic, is his usual dynamic
self drawing impassioned playing from the Italian orchestra. The transfer on
Warner Classics is a vast improvement over the Cetra LP issue. The recording
also briefly was available on a German label, Hommage GmbH Musikproduktion
und Verlag, set 7001841. The Warner Classics issue listed above is available
only in Europe as of this writing.
DIMITRI MITROPOULOS / NEW YORK PHILHARMONIC ORCHESTRA
Astrid Varnay (Elektra); Irene Jessner (Chrysothemis); Elena Nicolaidi (Klytämnestra);
Frederick Jagel (Aegisth); Herbert Janssen (Orest)
GUILD GHCD 2213/4 (2 CDs) TT: 71:59 & 77:48 (live
1949)
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Mitropoulos gave this New York Philharmonic concert performance of Elektra
with Astrid Varnay, Irene Jessner, Elena Nikolaidi, Frederick Jagel and Herbert
Janssen, oddly presented on Christmas Day 1949. Olin Downes wrote of this, "it
must be recorded as one of the legendary musical events in the history of the
city." It is magnificent although with many cuts. The audience applauds
after Klytämnestra's entrance which ends with a loud chord—the reason
being that there was an intermission during the broadcast and that's where
it took place. Varnay is a bit slow to warm up but by the Recognition Scene
is in top form—and on the final notes she does sing a resounding—and
long-held—high "B"—absolutely stunning! This is the only
documented Klytämnestra of Greek soprano Elena Nikolaidi—offering
a strong characterization with her rich, flexible voice, although after the
confrontation with Elektra there is no maniacal laughter. Jessner is the only
principal not quite up to highest standards. This is a memorable performance
finally issued on CD in a splendid transfer, filled out with arias of Weber,
Wagner, Mascagni, Massenet, Puccini and Verdi featuring Varnay. Broadcast commentary
for Elektra is included, taking us back to a memorable afternoon more than
a half-century ago.
Since writing the above I have received another recording of Elektra, a live
recording from Teatro La Fenice dating from December 1971 with Inge Borkh,
Regina Resnik, Teresa Kubiak as Chrysothemis and Kari Nurmela as Orests, with
Fritz Rieger conducting. This is the last Borkh recording of the role, and
her voice shows definite signs of wear; Resnik is still her usual powerful
self, the remainder of the cast reasonably good. The sound, in spite of "20
Bit High Definition Remastering" is often distorted. The set, on Mondo
Musica (MFOH 10503), seems to be discontinued.
DIMITRI MITROPOULOS /
VIENNA PHILHARMONIC ORCHESTRA
Inge Borkh (Elektra); Lisa della Casa (Chrysothemis); Jean Madeira (Klytämnestra);
Max Lorenz (Aegisth); Kurt Bohme (Orest)
ORFEO C 456 972 1 (Salzburg Festival August 7, 1957)
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A magnificent performance that took place about a year after the conductor's
New York performance with Varnay. It boasts Lisa della Casa's elegant (and
only) Chrysothemis on disk; Borkh and Madeira are known factors and in their
prime with strong support from the male contingent. A demonic mood pervades
thanks to the brilliant leadership of Mitropoulos. It's rather surprising that
he was permitted to conduct this performance as this was the first year (1957)
that the Salzburg Festival was under the artistic direction of Herbert von
Karajan; one would think he would have claimed Elektra for himself,
but he did direct it in Salzburg in 1964 (see below). CD notes give a rapturous
report of the Mitropoulos performance ("I do not believe there is a present
a second conductor who is capable of drawing from the score of Elektra such
a quantity of excitement and breathtaking tension and who does this—from
memory!—with so calm, almost relaxed a security and so much feeling for
the beauty of the orchestral sound..."). Notes also state the director,
Herbert Graf, hired an actress just for Klytämnestra's two screams—and
she did her job to bloody perfection. Among the five serving maids you'll find
a very young Marilyn Horne and Sieglinde Wagner. The mono sound from the Austrian
Radio is fine; this is another superb Elektra.
Beecham / BBC / 1947
|
Beecham / RCA / 1947)
|
Rodzinski /New York Phil / 1937 |
SIR THOMAS BEECHAM / Royal Philharmonic Orchestra
Erna Schlüter (Elektra); Ljuba Welitsch (Chrysothemis); Elisabeth Höngen
(Klytämnestra); Walter Widdop (Aegisth); Paul Schoffler (Orest) (rec. live
London Oct.19471937)
WAGNER: Excerpts from Die Walküre, Siegfried, and Tristan und Isolde sung
by Erna Schlüter.
MYTO MCD 946.117 (2 CDs)
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Throughout his career Sir Thomas Beecham championed music of Richard Strauss.
He conducted the first Strauss ever performed in England—Elektra—February
10, 1910 at Covent Garden. Thirty-seven years later he presented a Strauss Festival
in London with his new Royal Philharmonic Orchestra, founded in 1946, one year
earlier. Strauss, more than eighty at the time, accepted Beecham's invitation
to come to the festival, where he conducted his Symphonia domestica in
Royal Albert Hall, and received many honors.
The Strauss Festival programs included two concert performances of Elektra in
the BBC Concert Hall October 24/26, 1947, both highly praised by the composer.
The BBC broadcast of Elektra has been issued on several pirate labels
but this Myto issue offers the best sound of all. Beecham's
Strauss is not as highly-charged as Reiner, Solti or Mitropoulos but it builds
to a mighty climax and his attention to detail is extraordinary. Schlüter's
Elektra is serviceable; she of course is no Nilsson or Varnay. Of keen interest
here is the Chrysothemis of Ljuba Welitsch, one of the few complete opera recordings
of the remarkable Bulgarian soprano (the others are Un ballo en maschera,
Aida, Don Giovanni, La Rondine and Salome, all in live recordings, Die
Fledermaus in the studio). She is perfect in the role; I prefer her to Leonie
Rysanek because her vivid youthful sound is an appropriate contrast to Elektra;
even though Elektra and Chrysothemis are sisters I prefer not to have them sound
too similar. This is a valuable recording for Strauss lovers. At the same time
as the BBC performances HMV made a studio recording of the Recognition
Scene and a somewhat abbreviated version of the finale (see other Beecham listing
below).
SIR THOMAS BEECHAM / ROYAL PHILHARMONIC ORCHESTRA
Erna Schlüter (Elektra); Ljuba Welitsch (Chrysothemis); Walter Widdop
(Aegisth); Paul Schoffler (Orest)
PREISER 90341 TT: 68:00 (recorded Oct. 1947)
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This is the recording RCA requested from HMV in
October 1947 when Beecham and his forces gave two BBC performances (see story
above). This recording was my first exposure to Elektra—I once
owned the original four 78's as well as the RCA LP issue (LCT
1135). The recording contains the Recognition Scene and a truncated version
of the finale. None of Klytämnestra's music is included—but of course
we hear the two blood-curdling screams as she is murdered, presumably done
by Elisabeth Höngen who sang the role in the BBC performances. Can you
imagine being present at a recording for the sole purpose of providing two
blood-curdling screams? Prime interest on this CD is about a half-hour of Strauss's Ariadne
auf Naxos (Prelude and final scene) with Maria Cebotari as Ariadne, also
presented at the 1947 Strauss festival, reason enough to have this CD.
ARTUR RODZINSKI / New York Philharmonic Orchestra (concert abridged
version)
Rose Pauly (Elektra); Charlotte Boerner (Chrysothemis); Enid Szánthó (Klytämnestra);
Frederick Jagel (Aegisth); Julius Huehn (Orest)
EKLIPSE EKRCD 17 (1 CD) (rec. Mar. 21, 1937)
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The Rose Pauly concert version of Elektra dates from a broadcast March
21, 1937. Born in Hungary, Pauly (1894-1975) reportedly was the most celebrated
Elektra of the '30s. On this broadcast she made her American debut; the following
year she would sing the same opera and others at the Met for two years. She
gave many first performances including Marie in the world premiere of Berg's Wozzeck.
Strauss praised her singing of his music and rightly so based on what is heard
on this broadcast. Her voice is powerful, right on pitch and she obviously
understands the score. It is said she was outstanding histrionically and on
stage must have been a dramatic presence indeed. Charlotte Boerner, with a
rather light but secure sound, is excellent as the sister, and another Hungarian,
Enid Szánthó, presents a sterling Klytämnestra. Artur Rodzinski
conducts superbly—what a Strauss conductor he was! Sound is surprisingly
good considering the vintage but, unfortunately, there are many episodes of
static-like interference; those who can tolerate this will experience a superb
if truncated performance by one of the leading Elektras of the past.
Kempe/Lammers/Royal Opera / 1958 |
Böhn / Borkh /Dresden / 1859 |
Borkh / New Orleans / 1966
|
RUDOLF KEMPE / ROYAL OPERA HOUSE ORCHESTRA
Gerda Lammers (Elektra); Hedwig Müller-Bütow (Chrysothemis); Georgina
von Malinkovic (Klytämnestra); Otakar Kraus (Orest); David Kelly (Oreste);
Covent Garden Chorus and Orchestra
ROYAL OPERA HOUSE ROHS 004 (2 CDs) TT: 54:21 & 61:46 (live 1958)
BUY
NOW FROM AMAZON
Elektra, recorded live in London's Royal Opera House May 29,
1958, receives a remarkable performance. German soprano Gerda Lammers
stepped in a week before the performance to replace Christel Goltz and
scored a huge triumph. She has total command of this demanding role,
and it's surprising her career didn't develop further. The entire cast
is outstanding, but there's no question that a major factor is the magnificent
conducting of Rudolf Kempe, already recognized as a Strauss specialist,
some years before he would record all of the composer's orchestral music
for EMI. This is a monophonic recording, but the sound
is well-balanced and satisfying. A complete libretto in German and English
is included. The 14-minute "Lord Harewood in Conversation" is
a dubious bonus.
KARL BÖHM / DRESDEN STATE ORCHESTRA
Inge Borkh (Elektra); Marianne Schech (Chrysothemis); Jean Madeira (Klytämnestra);
Fritz Uhl (Aegisth); Dietrich Fischer-Dieskau (Orest)
DGG 445329 (2 CDs) (rec. Dresden 1960)
BUY NOW FROM AMAZONKarl Böhm's 1960 Dresden recording is outstanding
in many ways. Inge Borkh is in top form in the title role, Jean Madeira
here is a relatively sedate Klytämnestra. Only Marianne Schech disappoints
as Chrysothemis; otherwise the cast had the luxury of Dietrich Fischer-Dieskau
as Orest and Fritz Uhl as Aegisth. This is Böhm's first commercial
recorded representation of the score—and his expertise in Strauss
is always apparent. Fine orchestral playing—and the early stereo
recording is spacious and natural.However, later recordings of this opera
with Böhm are of far greater interest.
KNUD ANDERSSON/New Orleans Orchestra
Inge Borkh (Elektra); Andrey Schuh (Chrysothemis); Regina Resnik (Klytämnestra);
Alan Crofoot (Aegisth); Benjamin Rayson (Orest)
VAI AUDIO VAIA 1170 (rec. Dec. 1966)
BUY NOW FROM AMAZONInge Borkh's live New Orleans Opera performance of
December 1966 is one of manysheof the opera she gave in smaller opera
houses; this one surely sounds provincial as the audience applauds just
about everyone as they appear on stage, also at climactic points in the
performance (!). Surprising, as opera in New Orleans has had a distinguished
history for the past century. U.S. premieres of Norma, I Puritani, Semiramide,
Les Huguenots, Le Prophète , Lucia di Lammermoor, La Favorite
and La Fille du Regiment took place in New Orleans along with Mignon,
Le Cid, Esclarmonde, Hérodiade and Le Roi d'Ys. Borkh is reliably
excellent, and Regina Resnik repeats her grim representation of Klytämenestra
without the benefit of Decca's engineering in her maniacal laughing as
she learns of Orestes' death. Amy Schuh's Chrysothemis is no match for
the other two principals. Knud Anderson, who conducted the New Orleans
opera from 1964-1979, holds things together but little more. Stereo sound
is adequate and reasonably well-balanced. A bonus is three excerpts from
Verdi's Macbeth from a New Orleans production of November 1967 in which
Borkh is superb as Lady Macbeth, with Anton Guadagno conducting.
|
Ekkehard
/ Matacic/ 1957
|
Bptkh/Reger / Fenice / 1971 |
Bychkov / Polaski / WDR / 2004 |
:
EUGEN JOCHUM / Hamburg State Orchestra
Erna Schlüter (Elektra); Annelies Kupper (Chrysothemis); Gusta
Hammer (Klytämnestra); Peter Markwort (Aegisth); Robert Hager
(Orest).
ACANTA 442 129/130 (2 CDs) (rec. June 1944)
BUY NOW FROM AMAZON
MEMBRAN 233494 (2 disks)
BUY NOW FROM AMAZON
A fascinating "historic recording" from Hamburg in 1944.
Eugen Jochum succeeded Karl Böhm as musical director of the
Hamburg Opera in 1934 and remained there until the end of the war.
He proves to be a splendid conductor of Strauss opera—as, of
course, was his predecessor. In the title role Erna Schlüter
gives a thrilling performance; she is in better condition vocally
than she in the Beecham recording three years later and here one
can understand why she was rated so highly during her time. Gusta
Hammer, a singer totally unknown to me (although I found that she
participated in an early recording of Bach's St. Matthew Passion
conducted by Bruno Kittel), is outstanding, if rather laid back as
Klytämnestra. Annelies Kupper appeared often at the Hamburg
Opera in the early '40s, and created the title role in the 1952 Salzburg
world premiere of Strauss's Die Liebe der Dana. Her singing of Chrysothemis
is on the same high level as the other women principals. This is
a fine performance in superb mono, well-balanced sound. As of this
wriring (6/12) this performance has also been issued on the Membran
label.
LOVRO VON MATACIC / BERLIN STATE OPERA
Sugrid Ekkehard (Elektra); Margarete Klose (Klytämnestra); Hedwig
Müller-Bütow (Chrysothemis); Günter Treptow (Aegisth);
Gerhard Niese (Orest).
GEMA SSS0049 (2 CDs) TT: 52:37 & 74:40 (live 1957)
BUY NOW FROM AMAZON
This is a live performance from Staatsoper under den Linden October
3, 1957. Condutor Lovro von Matacic is excellent, but the cast disappoints.
Few have heard of Sigrid Ekkehard, and for good reason. Volume is
her biggest asset, which also could be said of the two other female
singers. The remainder of the cast is also weak, the recorded sound
is poorly balanced and bass heavy. The set also includes a fine performances
of Strauss's Death and Transfiguration from a concert a year later.
Producer of this ill-advised set was not very careful—some
of the tracks of Elektra are not in the correct order, and the symphonic
poem is not track 18, as listed, but is heard during the opera(!!).
An embarrasing issue for the record industry, and one surely to be
skipped.
FRITZ RIEGER / TEATRO LA FENICE
Inge Borkh (Elektra); Regina Resnik (Klytáaemnestra); Teresa
Kublak (Chrysothemis); Niels Moreller (Aegistuhs)_; Karl Nurmela
(Orestes)
MONDO CLASSICA MFOH 10505 (2 CDs) TT: 62:48 & 39:01 (live 1971)
This is a live recording from Teatro La Fenice dating from December
1971 with several aging quality singers featured: Inge Borkh in the
title role, and Regina Resnik, ass the queen. This is the last Borkh
recording of the role, and her voice shows definite signs of wear
and tear, although histrionically she dominates the stage; Resnik
is still her usual powerful self, the remainder of the cast reasonably
good. although Kubiak's Chrysothemis is far removed from the glories
of Rysanek, Welitsch and others who have what it takes for this demanding
role. Microphones have captured many stage sounds, particularly the
klumping of Borkbh's final dance.In spite of "20 Bit High Definition
Remastering" there is considerable distortion.. The set, on
Mondo Musica (MFOH 10503), seems to be discontinued. SEMYON BYCHKOV / WDR ORCHESTRA
Deborah Polaski (Elektra); Anne Schwanewilms (Chrysothemis); Felicity
Palmer (Clytemnestra); Graham Clark (Aegisth);Franz Grundheber
(Orest); WDR Radio Chorus and Orch
PROFIL SACD PHO 5022 (2 disks) TT: 66:16 & 40:55 (2004)
BUY NOW FROM AMAZON
The highpoint of Profil's issue of Elektra is the recorded sound—superb
in every way. This is in surround sound on SACD and has not been
released on regular CD. However, the SACD, when played on regular
units, also contains the stereo version, which is equally impressive.
Every detail of the composer's complex writing is clearly presented.
in surround sound, and on occasion we find ourselves onstage with
voices heard from rear speakers. Bychkov is a fine Strauss conductor,
with a particular love of this opera. Apparently there were numerous
rehearsals and live performances before this recording was made,
obvious from the disciplined playing of the WDR Orchestra. Strauss
said both Salome and Elektra should be conducted as "elfin music," which
Bychkov correctly interprets as it should be played with transparency
and attention to detail, surely the case here. Vocally we are on
shakier ground. Deborah Polaski has been singing the role of Elektra
for over two decades—more than 300 performances. At this point,
she doesn't have the power or thrust—or vocal control—for
the climactic moments, nor did she have them for her 1995 Berlin
recording with Daniel Barenboim conducting. Now at the beginning
of her career, Anne Schwanewilms impresses as Chrysothemis although
she doesn't have the ease of production in her big moments. Felicity
Palmer is a strong Clytemnestra. Notes are provided in German and
English but the libretto doesn't have them side by side which may
be inconvenient for some listeners. Audio buffs might wish to have
this release solely for the sonics.
|
Varnayu/Rysanek/ / Kraus / 1953 |
Varnay/Rysanek/Kraus/1953 |
Varnay/Rysanek/Kraus/1953
|
Barenboim/Polaski/Berlin/1995 |
RICHARD KRAUS / Kölner Radio Symphony Orchestra
Astrid Varnay (Elektra); Res Fischer (Klytämnestra); Leonie
Rysanek (Chrysothemis); Hans Hotter (Orest); Helmut Melchert (Agisth);
Kölner Radio Chorus
CAPRICCIO 5008 (2 disks) TT: 35:32 & 65:01
GALA GL 100.512 (2 CDs) (rec. Aug. 1953) 75:26 & 71:07 (also
contains excerpts from Der Rosenkavalier).
KOCH-SCHWANN 3-1643-2 (2 disks) TT: 35:25 & 64:53
This memorable performance of Elektra, one of the best on
CD, was issued on several labels, only one, on Capriccio,
is currently available—and
it is budget price. This German Cologne
radio performance without an audience from August 1953 features Astrid
Varnay, Leonie Rysanek and Res Fischer, a terrific trio. Varnay,
then in her prime (a year after her superb Met performances with
Reiner), is magnificent, fearless on those high notes, with Rysanek
early in her career in what was to become a signature role.. Res
Fischer, also at the beginning of her career, is Klytämnestra,
providing an appropriate cackle when she learns of Orestes' supposed
death, as well as a vivid scream as she is murdered. And we have
the luxury of Hans Hotter as the definitive Orest. Richard Krauss
is not Solti or Reiner; there are few orchestral fireworks, but he
is in firm control, and provides an effective pause after the second
death cry of Klytämnestra. The mono sound is well-balanced and
clear, excellent for its time. The well filled Gala CDs (75:26 and
71:07) also contain about 46 minutes of Der Rosenkavalier from
a Met broadcast of Feb. 28, 1953 with Varnay as the Marschallin,
Risè Stevens
as Octavian; Nadine Connor was Sophie in that broadcast—none
of her music is included which means no final trio. This is one of
the best Elektras on CD.
DANIEL BARENBOIM / BERLIN STATE OPERA ORCHESTRA
Deborah Polaski (Elektra); Alessandra Marc (Chrysothemis); Waltraud
Meier (Klytämnestra); Johan Botha (Aegisth); Falk Struckmann
(Orest)
TELDEC 99175 (2 CDs) (rec. February 1995)
The star of this recording is Waltraud Meier who obviously relishes
her return to mezzo repertory. Her singing of Klytämnestra is
among the best on recordings. Deborah Polaski's Elektra is striking
in its boldness, but obviously she is stressed and edgy in this difficult
role. Alessandra Marc's Chrysothemis is tenuous and she seems to
have little vocal reserve. For certain she is better as the sister
than she in the title role in Sinopoli's recording made the same
year. The two men are excellent. Barenboim's reading is rather understated,
rather as if he were conducting Rosenkavalier instead of the composer's
bloodiest, most dissonant opera. Teldec's engineering is first-rate.
|
WOLFGANG SAWALLISCH / Bavarian Radio Orchestra
Eva Marton (Elektra); Cheryl Studer (Chrysothemis); Marjana Lipovsek
(Klytämnestra); Hermann Winkler (Aegisthus); Bernd Weikl
(Orest).
EMI 54067 (2 CDs) (rec. 1990) (currently available only on MP3)
Elektra was considered to be one of Eva Marton's finest roles. She
has a powerhouse of a voice with remarkable volume and stamina. Unfortunately
subtlety is not part of her arsenal—she just belts it out in
her own way, impressive for sheer volume but not very pleasant to
hear—and not always quite on pitch. Cheryl Studer is splendid
as Chrysothemis, Marjana Lipovsek a strong Klytämnestra, with
the two leading men all one could wish for. It must be said that
Sawallisch's love for the score is ever-apparent. He manages to make
the Bavarian
RSO sound like the VPO—and, as he did in his live RAI performance.
Sawallisch makes a considerable pause (as does Richard Kraus) after
the second scream as Klytämnestra is murdered—a
terrific theatrical effect. EMI's stereo sound is all one
could ask—but
I can't help but wish that Nilsson was in the title role instead
of Marton. Sawallisch and the others deserve better. Marton is in
better vocal condition in the 1989Vienna State Opera conducted by
Claudio Abbado, but that production, on DVD, visually is a mess.
I am surprised
Abbado tolerated this aberration of strauss's masterpiece.
FRIEDEMANN LAYER / Montpellier Languedoc-Roussillon National Orchestra
Hildegard Behrens (Elektra); Luana DeVol (Chrysothemis); Leonie Rysanek
(Klytämnestra); Daniel Galvez-Vallejo (Aegisth); Wolfgang
Schone (Orest).
NAÏVE AT 34109 (2 CDs) (live concert 3 August 1995)
Seven years after her Boston live performance Behrens gave this performance
in France. Her artistry remains, her voice still had much of its
glory of past years. Her cry "Orest!" in the recognition
scene is magnificent, although she doesn't slide off the final note
of the opera as she did so effectively in the 1988 performance. Rysanek's
Klytämnestra is near perfect, with her huge voice providing
an appropriately matronly aspect to the character. She makes the
laugh almost a takeoff on Brünnhilde's Battle Cry, and it sounds
as if she does the two screams as she is murdered—blood-curdling,
too. DeVol is a rather wobbly Chrysothemis, hardly an appropriate
match for her colleagues. The stereo sound, courtesy of the French
Radio, is excellent, the French orchestra plays well, but conductor
Layer misses much of the score's drama. Of interest primarily for
Rysanek's Klytämnestra. This fine performance, unfortunately,
currently is unavailable.
FRITZ REINER/Chicago Symphony Orchestra
Inge Borkh (Elektra); Frances Yeend (Chrysothemis); Paul Schoeffler
(Orest):
RCA 67900 (also contains Dance of the Seven Veils and final scene
from Salome with Inge Borkh). (rec..in 1956)
In 1956 Fritz Reiner and the Chicago Symphony were planning concert
performances of Elektra in collaboration with RCA. When
the latter refused to record the entire opera, Reiner presented a
72-minute
concert version omitting all of Klytämnestra's music and some
excerpts were recorded: Elektra's soliloquy "Allein! Weh, ganz
allein," the complete Recognition Scene, and the opera's finale.
Of course they missed the boat—they should have recorded the
entire opera, just as Columbia's oversight in 1949 when they recorded
just the final scene of Salome with Reiner and Ljuba Welitsch.
However, we are thankful for what we have.These excerpts from Elektra are
first-rate throughout. Frances Yeend isn't an ideal Chrysothemis,
but her lighter voice is a welcome contrast to Borkh—and Paul
Schoeffler is a superb Orest. Reiner is the real star here, a Straussian
of the first order—he makes the most of the orchestral interlude
following Elektra's cry of "Orest!" in the Recognition
Scene, with the CSO brass in full glory; there is no other recording
quite like it. The Chicago Symphony is resplendent, and this is one
of the finest examples of RCA's Living Stereo Chicago
recordings sounding better than ever in this Living Stereo SACD
issue. There also is a Reiner Met broadcast of Feb. 23,
1952 with Astrid Varnay, Walburga Wegner (who recorded Salome in
Vienna with Rudolf Moralt conducting), and Elisabeth Höngen,
available in a 3 LP set from the Metropolitan Opera (MET 9) which
also contains the 1952
Salome with Welitsch/Reiner (too bad they didn't use the 1949 performance,
which is the better of the two). Varnay sang 5 performances of Elektra
at the Met in 1952. She had sung Salome three times at the Met from
1950-1952 (as well as three Brünnhildes), returning to the Met
from 1975-1977 when she sang 8 performances of Klytämnestra
and 3 of Herodias. Doubtless eventually this Elektra will be issued
on CD; it is of the greatest interest. It shoud be mentioned that in
recent years all of Reiner's recordings have been ddigitally remastered
and reissued usually in budget editions
This Elektra from the Netherlands Opera is a knock-out
in every way. Apparently this production by Willy Decker was so successful
that it has been revived several times. Although no performance date
is given, probably what we hear is a presentation from this past
season. German soprano Evelyn Herlitzius has been singing major Wagner
and Strauss roles.for about a decade in Dresden as well as other
opera houses including Vienna, Berlin and La Scala, As Elektra she
is quite remarkable, giving 110% right from her opening monologue.
She has the power to accommodate conductor Marc Albrecht's leisurely
tempi, and dramatically she is totally convincing. She might not
have the sheer power of Nilsson at her best, but. there is no question
that Herlitzius is among the finest singer of this demanding role
of our time. Equally impressive is Michaela Schuster's Klytämnestra,
firmly projected with a vulnerable quality usually not conveyed,
and Finnish soprano Camilla Nylund, who herself has sung much Strauss
and Wagner, is a perfect foil as the younger sister. Here she has
controlled the vibrato that marred her recent solo disk.
Gerd Grochowski is a strong Orest, as is Hubert Delamboye as the
doomed Aegisth. Although Marc Albrecht is sensitive to the tender
moments of the score, he maintains tension throughout, and the orchestra
is magnificent. Engineering captures rich orchestral textures to
perfection. Perhaps this outstanding performance eventually will
be issued on DVD; I surely hope so.
|
Ozawa / Behrens /Boston / 1988
|
Böhn / Nilsson / Paris / 1973 |
Thielemann / Herltizius / Dresden / 2014 |
|
SEIJI OZAWA / Boston Symphony Orchestra
Hildegard Behrens (Elektra); Nadine Secunde (Chrysothemis); Christa
Ludwig (Klytämnestra); Ragnar Ulfung (Aegisth); Jorma Hynninen
(Orest).
PHILIPS 422 574 (2 CDs) (rec. live 1988) (reissued on Philips Duo
- 464 985)
This concert performance with the Boston Symphony
is excellent in many ways. Hildegard Behrens is superb, right-on
for those high notes, and I like the way she slides off the final
A# - an appropriately maniacal effect. Throughout her characterization
is strong, the drama intense. Christa Ludwig is in the same class
(I wonder what the audiences thought in the concert performance
when Ludwig does that series of hysterical laughs—and the screams
as she is murdered?). Unfortunately Nadine Secunde's Chrysothemis
isn't up to her associates' standard. The men are fine, and the Boston
Symphony produces beautiful sounds. Ozawa doesn't generate much excitement
(which can also be said of his slack recording of Salome)—there
is little of the demonic drive of many other conductors, particularly
Solti, Böhm, Reiner and Mitropoulos. Admirers of Behrens and
Ludwig surely will wish to have this recording.
KARL BÖHM / PARIS IOERA
Birgit Nilsson (Elektra); Leonie Rysanek (Chrysothemis); Astrid
Varnay (Klytemnestra); Richard Lewis (Aegisth); Hans Sotin (Orest);
Paris Opera Orch / Karl Böhm, cond.
GOLDEN MELODRAM 3.0008 (2 disks) TT: 59:07 & 43:44
Elektra was one of the greatest triumphs of soprano Birgit
Nilsson; her famous Decca recording conducted
by Sir Georg Solti was made in 1967 and remains one of the finest
ever made.Her 1980 Met
performance is available on DVD and there are a numb er of other
live recordings. . This Melodram release
of a performance in Paris April 21, 1975 does show her in her prime,
surrounded by a splendid cast, and conducted
by Karl Böhm whose
presence vitalizes the Paris Orchestra. Sound quality is good enough,
and this was, indeed, an exciting night at the opera. There are no
program notes: instead we have a transcription from a 1997 German
television production of a conversation between Birgit Nilsson, Astrid
Varnay and Martha Mödl, three of the greatest Wagnerian sopranos
of the century. It's highly entertaining, but is even better if you
see the video, available from Berkshire Record Outlet (DVD5961).
CHRISIAN THIELEMANN / Dresden State Opea
Evelyn Herlitzios (Elektra). Anne Schwanewilms (Chrysothemis). Waltraud
Meier (Klytämnestra). René Pape (Orest). Frnk Van Aker
(Aegisth). Dresden State Opera/Christian Thielemann, cond.
DECCA 479 3387 (2 disks) TT:51:51:51 & 52:24
German sooprano Evelyn Herlitzius (b. 1963) has has had a successful
career singing Waner at Bayreuth, and today today is famous for her
Elektra. She has sung it a number of times, and three of her performances
are available for collectors. First is this concert performance
given in January 2014 in Berlin's Philharmonie, and it is superb.
Another exciting new soprano is Anne Schwanewilnis delivers the soaring
lines of Chrysothemie. The amazing Waltraud Meierhere, who has been
accaimed for her Wagner performances since 1980, is a diabolical
Klytämnest.Thielemann as always is in total control of orchestral
forces, and audio is excellent. from Paris
conducted
by Essa
Pekka-Salonen.
. All
are very
good indeed, but surely the one to experience is the video where
Herlitzius's
remarkable
dramaic instincts are supreme.
JOCHUM /SCHLUTER / HAMBURG / 1944
Erna Schlüter (Elektra). Gusta
Hammer (Klytämnestra). Annelies Kupper (Chrysothemis). Peter Markwort
(Aegisth). Robert Hager (Orest). Hamburg StateOpera Chorus and
Orchestra . Eugen Jochum, cond
MEMBRAN 04888 (2 disks) TT: 106:46
This 1944 recording is one of the most impressive of rec Elektras
on disks. It features German soprano Erna Schlüter in the title role;
it is
said that Strauss complimented interpretation
of the role, and judging by this performance it is easy to understand
why. Unfortunately she was not as impressive when she made her 1947
BBC performance and RCA recording with Sir Thomas Beecham. Outstanding
singing throughout, with Gerda Hammer a powerful queen (her laughs
after her encounter with Elektra are perfect, and her screams as
she is being murdered are chiling. Anneliese Kupper is an assured
younger sister. Eugen Jochum, best
known for
his interpretations
os Bruckner and standard classics, is a master of Strauss. The mono
audio is excellent, wide-range nd well-balanced. Every Elektra collection
should have this.
|
 |
|
|
GIUSEPPE SINOPOLI / Vienna Philharmonic Orchestra
Alessandra Marc (Elektra); Deborah Voigt (Chrysothemis); Hanna
Schwarz (Klytämnestra); Siegfried Jerusalem (Aegisth);
Samuel Ramey (Orest)
DEUTSCHE GRAMOPHON 453 429 (2 CDs) (rec. Sept. 1995)
Luxurious packaging—and luxurious sound from the Vienna Philharmonic.
Unfortunately the performance is diminished from the beginning by
Alessandra Marc in the title role; she simply doesn't have the necessary
power in her upper register. She sounds stressed on those crucial
high notes and cannot sustain some of them. Deborah Voight would
have been a better choice for the leading role, but she is a fine
Chrysothemis. Hanna Schwarz's queen lacks the despair and venom many
others find in the role. DGG's engineering places Schwarz's non-menacing
laugh in the distance which perhaps it where it should be. It seems
like luxury casting as well to have Siegfried Jerusalem as Aegisth
and Samuel Ramey as Orest, but the latter was having a bad day when
this recording was made. Sinopoli in his own rather placid way revels
in Strauss's rich orchestration, but there's little tension and the
final crashing C-major chords sound perfunctory and over-rushed.
DG's engineers have done a spectacular job in capturing the rich
sound of the VPO, which is at its radiant best.
VALERY GERGIEV / LONDON SYMPHONY / 2010
Jeanne-Michele Charbonnet (Elektra). Angela DeNoke (Chrysothemis).
Dame Felicity Palmer (Klytämnestra). Matthias Goerne (Orest).
Ian Storey (Aegisth). London Sympohony Orchestra / Valery Gergiev,
cond.
LSO LIVE 0701 (2 disks) TT: 57:22 / 51:00
This Elektra is from performances in London's Barbican
Hall in January 2010. It is, without doubt, the worst professional
performance
of Strauss's masterpiece I have experienced. The two male
singers, Mathias Goerne and Ian Storey, are fine artists, but the
three
female leads
are inadequate. In spite of her French-sounding name, Jeanne--Michelle
Charbonnet is an
American
soprano who has
had some
success in he operatic world. Her voice is ugly, uncontrolled and
often off pitch. And she
surely doesn't have the powerhouse quality essential for this most
demanding of soprano roles .Angela DeNoke also has a modest career,
but her Chrisothemis is weak, and her off-pitch cries
of Orest! in the final scene bring this dismal
performance to a welcome clos. English mezzo Dame Feluicity Palmer
(b.1944) has
enjoyed a remarkable long career, but
she is incapable to sing the demanding
role of Klytämnestra. Gergiev's surely is not of the standard
of Böhm, Sawallisch or Solti to mention only the finest. This recording
was edited from three performances, January `11, 12 and 14, 2010.
We can assume what we hear are the finest takes
from the performances: I surely would not like to hear any of
the others. This is a handsome production that includes a 68-page
booklet
with photos and the complete libretto. Skip this one, except as
an oddity‚an Elektra gone wrong.
BIRGIT NILSSON - THE GREAT LIVE RECORDINGS
SONY B0787DSWWZ (31 CDS)
This 31disk set contains twelve com;lete operas in live performances
featuring Birgity NIlsson. Of particular interest is this Elektra,
which is probably the best of her available Elektras. I t was a
performance by the Vienna State OPERAVienna State Opera given in
Montreal September 18, 1967. Also featured are LeonLeonie Rysnek
and Regina Resnik. Picture Video and audio are first-rate. this
is a fabulous performance.
|
Nilsson
/Met/ Levine /1980 |
Rysanek // Böhn / 1981 |
Marton / Abbado/
|
Johannsson/Dohnányi, 2003 |
Watson/Thielemann, 2010 |
STRAUSS: Elektra
Birgit Nilsson (Elektra); Leonie Rysanek (Chrysothemis); Mignon
Dunn (Klytämnestra); Donald McIntyre (Orest); Robert Nagy
(Aegisth);Metropolitan Opera Orch/James Levine, cond. (telecast
of February 16, 1980).
DGG DVD VIDEO 000747509 TT: 110 min. + 51 min. extra
This Elektra is, for various reasons, disappointing. The Met performance
was a Saturday broadcast matinee filmed at the same time, February
16, 1980. Of major interest here is participation of Birgit Nilsson
and Leonie Rysanek, both specialists in their roles as the two very
different sisters. Rysanek is superb and it is good to have video
documentation of one of her great performances, but Nilsson was not
at her best. On occasion her pitch is suspect, her power not at its
usual intense level—after all, she had been singing the big
Wagner and Strauss roles for a quarter-century. Dramatically she
is superb, brilliantly conveying Elektra's confused sexuality related
both to her brother, Orest, and her sister, Chrysothemis. Mignon
Dunn, a mainstay of the Met roster for lower dramatic soprano roles,
is convincing as Klytämnestra, Donald McIntyre a rather insecure
Orest. The Met Orchestra playsmagnificently well under James Levine's
assured direction. The stereo sound quality is disappointing, not
equal to the best of Met videos. Voices sometimes are too distant,
orchestral sound surprisingly unresonant for the venue. This performance
originally was issued on Pioneer Classics; now it is on DG which
has better video and sound, but it cannot help the performance. The
DG issue also includes a considerable bonus, Nilsson singing Isolde's
Narrative and Curse and a Swedish folk song, from a Met telecast
of 1996 marking the 25th year of James Levine's leadership of the
Met (REVIEW). Also included are two audio-only interviews with Nilsson.
STRAUSS: Elektra
Leonie Rysanek (Elektra); Catarina Ligendza (Chysothemis); Astrid
Varnay (Klytämnestra); Hans Beirer (Aegisth); Districh Fischer-Dieskau
(Orestes); Vienna Philharmonic Orch/Karl Böhm, cond.
DEUTSCHE GRAMMOPHON DVD VIDEO B0005982-09 TT: 116 min + 92 min
documentary
This Elektra was Karl Böhm's final project. The soundtrack
was recorded in the spring of 1981; the conductor died in August
of that year just before his 87th birthday. It was his wish that
Rysanek sing the title role, the first time she had done this although
opera lovers have cherished her Chrysothemis and, later, her Klytämestra.
Although towards the end of her career, Rysanek is in superb voice,
and it's fascinating to hear her in this role. Ligendza is far
from an ideal Chrysothemis, Varnay an appropriately cackling Queen
often singing with an approximation of the notes. Fischer-Dieskau
brings great nobility to the role of Orest. Böhm's reading
is slower than his 1960 DGG recording, leisurely compared with
Reiner, Solti, or Mitropoulos, but the sense of occasion is here
and the VPO plays magnificently for him. Götz Friedrich directed
this production, with set design by Josef Svoboda and costumes
by Pet Halmen. The set is appropriately bleak and often it is raining.
This concept works, and has been effectively filmed by Rudolf Blahacek.
The sound is fine, although the 5.l surround has been achieved
via Ambient Sound Technology. Several live performances of Elektra
conducted by Böhm are currently available (see ELEKTRA); the
finest is the 1965 Vienna performance with Nilsson, Rysanek and
Regina Resnek. A track-by-track synopsis is included, with subtitles
only in English. The second DVD contains a fascinating 90-minute
documentary by Norbert Beilharz on Böhm and his long association
with the opera, with many clips from recording sessions which took
place in Vienna's Musikverein (the music) and a huge locomotive
factory in Vienna (the video); lyp-sync is remarkably accomplished.
A superb release!
STRAUSS: Elektra
Eva Marton (Elektra); Cheryl Studer (Chrysothemis); Brigitte Fassbaender
(Klytämnestra); Franz Grundheber (Orest); James King (Aegisth);
Vienna State Opera Orch/Claudio Abbado, cond.
IMAGE ENTERTAINMENT ID 9303RADV Dolby digital 5.1 surround, stereo
TT: 108 min.
Abbado's Elektra is a live Vienna State Opera performance of 1989.
Musically it is quite strong. Eva Marton, a blockbuster soprano
who specializes in the big Strauss roles, is in relatively good
vocal condition. Subtelty isn't part of her singing, but she manages
the notes respectably and is quite dramatic interpretively. Cheryl
Studer negotiates Chrysothemis effectively, Brigitte Fassbaender
is an imperious Queen, Franz Grundheber is more effective visually
than vocally as Orest. James King, at the twilight of his distinguished
career when he was the Emperor in numerous performances of Die
Frau ohne Schatten, is just fine as the doomed Aegisth. Claudio
Abbado turns out to be a superb Straussian and, of course, the
Vienna State Opera Orchestra is an old hand in this repertory.
The production, by Herbert Graf, with Reto Nickler as stage manager
and lighting by Robert Stangl, is one that I do not wish to experience
again. For whatever reason, there are some ropes hanging from the
ceiling at stage right; their significance is unclear, but the
singers are required to hang onto them, twist them and otherwise
deal with them throughout the performance. Principal women characters
all wear white chalk makeup and caps that make them look bald.
Appropriately, the general setting is dark, but usually so dark
it's hard to see what's going on. Elektra seems to be wearing some
kind of tattered military uniform. Chrysathemis's red inner blouse
is a welcome spot of color on this foreboding scene. Closeups of
the singers in their clown makeup—and there are many—are
not flattering. Extensive curtain calls are included and, appropriately,
there are boos for the non-musical participants in this ill-advised
concept of Strauss's powerful opera. It's difficult to understand
why this production was filmed. Sonically this DVD is reasonably
effective, but this DVD for reasons stated above hardly represents
the power and grandeur of Strauss's masterpiece.
STRAUSS: Elektra
Eva Johannsson (Elektra); Marjana Lipovsek (Klytämnestra); Melanie Diener
(Chrysothemis); Rudolf Schlasching (Aegisth); Alfred Muff (Orest); Zürich
Opera Chorus and Orch/Christoph von Dohnányi, cond.
TDK DVD VIDEO DVWW-OPELEK TT: 102 min.
This Zurich production of Elektra is fascinating in many
ways. Director Martin Kusej and designer Rolf Glittenberg give their
interpretation of Hofmannsthal's tragedy. Elektra is "a young
punk with clumpy shoes, jogging trousers and a hooded jumper." The
serving maidens wear short skirts and skimpy aprons, characters seem
constantly to be running across the stage in various states of undress
and provocative action. At the time of Elektra's triumphant final
dance (very understated by the protagonist), we see a Brazilian cabaret
scene and dancers with gaudy costumes. After the premiere at the
Zurich Opera House December 13, 2003, critics wrote of this production, "sick,
but superb," and "madness without end." Christoph
von Dohnányi conducts with total authority, and the cast is
uniformly strong. Eva Johannsson negotiates the title role with ease;
doubtless we will be hearing much more from her. Melanie Diener,
one of the newest singers on the Strauss horizon, shows she has what
it takes. Marjana Lipovsek is totally neurotic as Klytämnestra
and, unfortunately, is costumed in comic fashion; her murder scene
doesn't amount to much, and Rudolf Schasching is a mincing, weakling
Aegisth. Sound quality is superb, but Felix Breisach's video direction
has far too many super closeups. This is an intriguing new look at
Strauss's masterpiece—but one I probably will not watch again.. STRAUSS: Elektra
Linda Watson (Elektra); Jane Henschel (Klytämnestra); Manuela Uhl (Chrysothgemis);
René Kollo (Aegisth); Albert Dohmen (Orest); Vienna Philharmonia Chor/
Munich Philharmonic Orch/Christian Thielemann, cond.
OPUS ARTE DVD VIDEO OA BD 7082 TT: 126 mi
This production of Elektra by Herbert Wernicke was first
given in October 1992 at the Bavarian State Opera; this revival was
in January/February 2010. In many ways, it is striking concept of
Strauss's masterpiece, with a bare set and a huge black moving panel
that when moved lets us see brilliant expanses of blood red. Elektra
wears a dark gown, Chrysothemis wears white, Klytämnestra wears
red, Orest has a rumpled business suit and Aegisth wears a white
dinner jacket. For the most part, singers face the audience and do
not interact with each other. Throughout most of the opera, Elektra
carries an axe, and it is a stunning moment when she swings it twice
as her mother is killed. However, the mood is quickly broken when
she has an electric lantern to light the way for Aegisth. At the
end of the opera, Elektra doesn't do a dance of triumph as Strauss
wanted; she turns her back to the audience and kills herself with
the axe (!). There is no explanation for these arbitrary decisions
by director Wernicke. Linda Watson was to make her debut as Elektra
with the Vienna State Opera, but on eight week's notice appeared
in this production when the scheduled soprano cancelled. Watson is
outstanding vocally, as is Jane Henschel as the Queen. This cannot
be said of German soprano Manuela Uhl, who doesn't have the power
and stability the role of Chrysothemis demands. Uhl (b. 1971) has
been a favorite in German opera houses in a wide variety of roles
that range from Handel and Strauss to contemporary opera. She has
been acclaimed by some for her Salome (you can see a snippet of it
on YouTube). Albert Dohmen is a strong Orest, and the tattered voice
of veteran René Kollo is appropriate for Aegisth. The orchestra
under Christian Thielemann's powerful direction, is superb. Video
and audio are first-rate. This is an intriguing view of Elektra,
but I imagine most viewers would prefer a more standard production.
This modern production makes much more sense than the Zurich version
mentioned above.
|
Theorin/Gatti, 2010 |
Brimberg / Gamba / 2014
|
Behrens / Met / Levine / 1994
|
Herlitzius /Salonen / 2013 |
STRAUSS: Elektra
Iréne Theorin (Elektra); Eva-Maria Westbrock (Chrysothemis);
Waltraud Meier (Klytämnestra); René Pape (Orestes);
Robert Gambill (Aegisth); Vienna State Opera Chorus and Orch./Daniele
Gatti, cond.
ARTHAUS MUSIC 101559 TT: 109 min.
This is a stunning, effective modern treatment of Strauss's masterpiece.
Nikolaus Lernhoff's direction is to the point, and the modern
costumes by Andrea Schmidt-Fischer seem appropriate; Designed
by Raimund Bauer, the set is stark and simple.Iréne Theorin
is a powerful Elektra, with Eva-Maria Westbrock in good form.
Waldtraud Meier,. dressed in purple with a boa, a is an outrageous,
vicious queen who at the conclusion is seen hanging upside-down.This
modern treatment of an operatic masterpiece is not an insult
to the viewer, which cannot be said of mnany recent operatic
disasters Video and audio are excellent on this new release,
a different compelling approach to the ooper.
STRAUSS: Elektra
Ingela Brimberg (Elektra). Ingrid Tobiasson
(Klytzuamnestra). Susanna Levonen (Chrysothemis). Magnus
Kyhle (Aegisth). Thomas
Lander (Orest). Norrlandsoperan's Orchestra / Rumon Gamba,
cond.
C MAJOR DVD TT: 108 min.
Strauss's magnificent opera Elektra is a towering
masterpiece, but one that seems to tempt producers and stage
directors to feel it must be updated or re-interpreted. For
example, the recent Patrice Chereau production featured at
the Met this season (and magnificently sung) has a final
scene in which Elektra does not dance to death as the composer
specified, but instead the stage is filled with members of
the ballet corps. A stupid concept unfortunately embraced
by Met officials. That seems quite tame compared with this
production by the Norrlandsoperan. This company has a history
of flamboyant productions and this is no exception. It was
produced by La Fura Dels Baus and directed by Carlos
Padrissa. I respect this company; they presented a remarkable
updated version of Wagner's Ring at Valencia conducted by
Zubin Mehta, reviewed on this site. However, this Elektra
is a confusing display of characterization. The performance
was recorded live at Umestan Företagspark, Umea, Sweden,
August 19 and 21, 2014, given in a huge parking lot . One
wonders where the audience was—out in the street around
the parking lot? There are huge puppets/statues, sometimes
with singes on them. Sometimes singers are on moving crane
chairs. Because of the darkness of the stage it usually is
difficult to see what is going on. Often there are fireworks
explosions, and the stage area usually has several raging
fires; these are very easy to see, as the stage area is always
dark. However, it is lighted enough for us to see cascading
waves of blood. There always is a lot of action on the stage,
most of which seems meaningless., and a huge supporting cast,
many carrying flaming torches. Costumes, designed by Clara
Sulla, are equally weird: Klytämnestra wears only a
robe over her shoulders, and throughout the opera we see
much more of her than anyone would wish to. Elektra appears
to have
an unending umbilical cord hanging from her back. The performance
is second-rate at best, with a cast surely not up to Strauss's
demanding score. I am surprised conductor Rumon Gamba, for
whom I have the greatest respect, would let himself be involved.
Audio is equally disappointing. Only get this ill-advised
Elektra as a curiosity.
STRAUSS: Elektra
Hildegard Behrens (Elektra); Deborah Voight (Chrysothemnis); Brigitte Fassbaender
(Klytämnestra); James King (; James King (Aegisth); Donald McIntyre
(Orest). Metropolitan Opera Orch/James Levine, cond.
DECCA 1135791355 (21 DISKS)
Here is something very special. This Elektra was fimed in January 1994, a spectacular
performance in every way with Hildegard Behrens in top form, Deborah Vloight
in one of her finest roles, far removed from her vocal decline of recent years.
Brigitte Fassbaender is also superb, and the remaining cast could not be bettered.
Behrens acts magnificently, and her final dance is outstanding. This performance
is far superior to the other Met DVD (with Nilsson and Rysanek), and it has the
advantage of stereo sound that beautifully captures the performance, along with
clear video. This is one of the preferred DVDs of Elektra. Unfortunately,
it is only availablre in the Decca release of the Met's huge
21 DVD set commemorating the first four decades of James Levine's leadership
of the Met. But this set should be in every opera lover's collection, as it also
contains Lulu, The Marriage of Figaro, Wozzeck, The Ghosts of Versailles,
Il Trittico, The Bartered Bride, Der Rosenkavalier, Don Carlo, and Rise
amd Fall of the City of Mahagonny, as well as In Concert at the Met.
It's a fabulous set—don't miss it!!.
STRAUSS: Elektra
Evelyn Herlitzius (Elektra). Waltraud Meier (Klytämnestra). Adrianne Pieczonka
(Chrysothemis). Mikhail Petrenko (Orest). Tom Randle (Ageisth). Gulbenkian Chorus.
Orchestra of Paris/Esa-Pekka Salonen, cond.
BEL AIR CLASSICS DVD TT: 110 min. + 23 min. bonus
This is a stunning, effective modern treatment of Strauss's
masterpiece. Nikolaus Lernhoff's direction is to the point,
and the modern
costumes by Andrea Schmidt-Fischer seem appropriate; Designed
by Raimund Bauer, the set is stark and simple.Iréne
Theorin is a powerful Elektra, with Eva-Maria Westbrock in
good form.
Waldtraud Meier,. dressed in purple with a boa, a is an outrageous,
vicious queen who at the conclusion is seen hanging upside-down
This production of Elektra is exceptional. It was
staged by Patrice Chereau , his last major production before
his death in October 2013. Chereau's imaginative approach to
opera was displayed in many acclaimed productions over the
years including the Ring at Bayreuth in 1976. This
DVD has a bonus of Chereau discussing his view of Elektra, which
is mos convincing. Set designer Richard Peduzzi gives us a
dark, gloomy scene, effectively lit by Dominique Bryuguiere.
The opera opens without music as the servants are working in
the courtyard. Chereau was fortunate to have Evelyn Herlitzius
in the title role, and one wonders how much of her highly theatrical
interpretation of the role was influenced by him. Surely the
final triumphal dance has never been as exciting as it is here,
Herlitzius' trim figure and athletic prowess enable us to perform
a demonic final dance that I'm sure would have delighted Strauss.
Herlitzius' voice is powerful enough although without the
intensity and thrust of Nilsson, or going back several decades,
Rose Pauly. Her acting is extraordinarily expressive in conveying
the tormented daughter. Adriana Pieczonka is a strong Chrysothemis,
although not as effective as Rysanek or Deborah Voight. The
amazing Waltraud Meier gives us a glamorous Klytämnestra
far removed from the grotesque creature on other productions
and she, also, is a superb actress. For whatever reason, at
the end of the confrontation scene as the queen is informed
of the supposed death of Orest, she does not laugh, as written
in the score. Odd. The two screams as she is being murdered
are appropriately frightening— I wonder if she actually
did them? Often these are performed off stage by someone else.
Mikhail Petrenko is a strong Orest, also a fine actor particularly
as he caresses Elektra's forehead during the recognition scene.Video
is excellent although I wish the camera had focused more on
Elekra in her final dance rather than the reactions of others.
This is It is a deluxe presentaton, very handsome on the shelf,
a major addition to the Elektra DVD library.. |
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