# Elektra revisited



## aussiebushman (Apr 21, 2018)

It will come as no surprise when I confess to being an avid Richard Strauss fan. 

I posted most of the following comments as an addition to a very old thread. but I do think separate consideration here is justified, especially the Mitropoulos Saltzberg performance of 1957 that is outstanding even though the recording sound is pretty dreadful. This recording features many fine artists. For example, any inclusion of Lisa Della Casa is worthwhile, though she may not be the ideal Clytemnestra, being a bit too sweet compared to, say, Varnay, the latter bringing to life every twisted nuance the role offers. 

As for the role of Elektra, Borhk is just superb. In my opinion, she is the best I have ever heard, even compared to Nillson and Rysanek in other performances. 

My other main reason to cherish the Mitropoulos version is the Oreste of Kurt Bohme. He was a Bass - somewhat unusual casting for what was essentially a baritone role but he is superb, bringing real power and nobility. Conversely, though the Karl Bohm version on DVD is brilliant in many ways, I do not like Fischer-Dieskau in the role of Oreste. He has many fine qualities, but I have always found him to be something of a "crooner" generally more suited to Lieder and in this role, I find him insubstantial both in appearance and voice.

Please feel free to argue


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## The Conte (May 31, 2015)

I like the classic Nilsson (and I'm not a Nilsson fan, but I like her as Elektra and Turandot). Another recording I think is superb is this one, that is often overlooked, there's also a version on DVD with a slightly different cast:

















Abbado takes a subtle approach to the score and brings out details that are missing in other versions, but he lacks drama in places, whereas Sawallisch doesn't lack the drammatic punches needed to make the opera a success. Marton isn't as good as Nilsson and I'm not a fan of drammatic sopranos of this type anyway. Fassbaender is a light voiced Klytemnestra, but is effective none the less, whereas Lipovsek is wonderfully neurotic. Studer is probably my favourite Chrysosthemis and like her Sieglinde I don't think the role has been better sung by any other soprano. The rest of the parts are well cast in both DVD and CD, but it is the conducting (especially the CD) that works magic in these versions, perhaps not as exciting as Solti, but more coherent and faithful to the work.

N.


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## aussiebushman (Apr 21, 2018)

I agree that the Sawallisch is a fine performance but I can't say I have ever been a fan of Marton, mainly due to her exaggerated vibrato. I also agree that Nillson is better,as is Rysanek but I continue to believe that Inge Borkh is best of the lot. If you need convincing, try this (under Fritz Reiner I think):





]

Can't argue about your liking for Studer - she is superb. Interesting that you have not commented on my preference for Kurt Bohme over Fischer-Dieskau


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## adriesba (Dec 30, 2019)

From my incomplete comparisons, my list of best Elektras ever is Birgit Nilsson, Ursula Schröder-Feinen, Astrid Varnay, and Inge Borkh. Nilsson is my favorite!


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## MAS (Apr 15, 2015)

aussiebushman said:


> It will come as no surprise when I confess to being an avid Richard Strauss fan.
> 
> I posted most of the following comments as an addition to a very old thread. but I do think separate consideration here is justified, especially the Mitropoulos Saltzberg performance of 1957 that is outstanding even though the recording sound is pretty dreadful. This recording features many fine artists. For example, any inclusion of Lisa Della Casa is worthwhile, though she may not be the ideal Clytemnestra, being a bit too sweet compared to, say, Varnay, the latter bringing to life every twisted nuance the role offers.
> 
> ...


I don't think Della Casa sang Clytemnestra, but Crysothemis.


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## adriesba (Dec 30, 2019)

MAS said:


> I don't think Della Casa sang Clytemnestra, but Crysothemis.


True. The Klytämnestra in that recording is Jean Madeira, the best ever in the role!


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## aussiebushman (Apr 21, 2018)

Thank you - I stand corrected


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## Ulfilas (Mar 5, 2020)

I also like the Sawallisch recording, for some reason I find Eva Marton more acceptable in this role than in the Brunnhilde she recorded for Haitink around this time. The rest of the cast is superb, and I don't think anybody conducts this piece better than Sawallisch (much more to my taste than Solti), and the sound quality is great.


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## Seattleoperafan (Mar 24, 2013)

The remarkable thing about the Nilsson video is that when she was towards the end of her career she studied the role under Wieland Wagner, probably the best German opera director ever. She became a truly amazing actress in the twilight of her career, in fact I would say one of the very best ever, whereas she was not really known as a great actress early in her career. Just watching her reactions to other singers was a revelation. The other truly astounding performance was Marilyn Zchau in a recital peformance on Youtube with the glorious voiced fat Debbie Voigt. Zchau is spine chilling. I saw her live in the role and her voice was huge and thrilling. She looks like Streisand with crazy hair.


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## Barelytenor (Nov 19, 2011)

*Elektra in Concert: Zschau,Voigt, Randova, BBC Orchestra*

Yeah, I couldn't agree more about Marilyn Zschau. Here is that video. She is stupendous, scary as all heck. And Debbie Voigt shines here -- vocally and literally -- way pre-little-black-dress.






Kind regards, :tiphat:

George


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## MAS (Apr 15, 2015)

Marilyn Zchau has also written a spiritual book called The Golden Essence is YOU, reportedly channeled by "The Archangels," designed to raise one's vibration.

https://www.prweb.com/releases/2012/4/prweb9363381.htm in case you want to check it out (I am not selling the book, I'm interested in Spirituality). I have not read it, but will check it out.


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## Barelytenor (Nov 19, 2011)

... Deleted deleted


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## adriesba (Dec 30, 2019)

Marton and Zschau seem to be mentioned a lot with the role of Elektra, but I'm not crazy about either. Marton live in the role is just bad singing in general — off pitch, very inconsistent vibrato, and just overall shouting as if she can barely make it through each minute. She sounds way better on the studio recording, but then she just sounds bland to me. Zschau seems to be a bit better, but something she does with her voice makes it hard to make out any words, though she's probably one of the better Elektras of more recent times.


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## Ulfilas (Mar 5, 2020)

I think Behrens with Ozawa is worth a listen too.


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## MAS (Apr 15, 2015)

Here's an interesting overview of *Elektra* recordings.

http://www.musicweb-international.com/classrev/2000/july00/elektra.htm


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## adriesba (Dec 30, 2019)

MAS said:


> Here's an interesting overview of *Elektra* recordings.
> 
> http://www.musicweb-international.com/classrev/2000/july00/elektra.htm


I don't recall seeing that page before, thanks!

There is also an interesting survey by Ralph Moore:

https://www.google.com/url?sa=t&sou...FjAAegQICRAC&usg=AOvVaw3Bd0350DzMvwSk6bx8fhIs


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## adriesba (Dec 30, 2019)

Who are some of the best to have sung Chrysothemis? Lisa Della Casa and Leonie Rysanek are mentioned a lot, but are there other notable interpreters?


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## Ulfilas (Mar 5, 2020)

More recently, the names Cheryl Studer, Deborah Voigt, Alessandra Marc, Anne Schwanewilms come to mind.


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## MAS (Apr 15, 2015)

adriesba said:


> I don't recall seeing that page before, thanks!
> 
> There is also an interesting survey by Ralph Moore:
> 
> https://www.google.com/url?sa=t&sou...FjAAegQICRAC&usg=AOvVaw3Bd0350DzMvwSk6bx8fhIs


Thanks, I always like to read these surveys.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Thanks, I always like to read these surveys.


I was pleased to see him praising Alessandra Marc's version which I love and tempts me with Gwyneth Jones's version.


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## adriesba (Dec 30, 2019)

Notice at the beginning, Rysanek transposes down. Why does she do that?


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## DavidA (Dec 14, 2012)

I must confess I do find this opera hard work


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## Barbebleu (May 17, 2015)

adriesba said:


> Notice at the beginning, Rysanek transposes down. Why does she do that?


Possibly to not put too much strain on the voice in rehearsal. I would imagine this is more of a phrasing rehearsal rather than getting to know the part.


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## adriesba (Dec 30, 2019)

Barbebleu said:


> Possibly to not put too much strain on the voice in rehearsal. I would imagine this is more of a phrasing rehearsal rather than getting to know the part.


OK. I was just thinking she would have to do those high notes eventually, but maybe there were too many rehearsals to do that every time. In the film, I got the impression that she really had to work for those high notes.


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## julide (Jul 24, 2020)

DavidA said:


> I must confess I do find this opera hard work


How? For me it goes so fast and i'm just caught in the drama of it all shivering and convulsing.


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## Barbebleu (May 17, 2015)

adriesba said:


> OK. I was just thinking she would have to do those high notes eventually, but maybe there were too many rehearsals to do that every time. In the film, I got the impression that she really had to work for those high notes.


I would agree that she sounds a little strained but that can sometimes come from husbanding the voice and singing mezza voce. The natural power being restrained can make it sound hard work.


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## MAS (Apr 15, 2015)

Ulfilas said:


> More recently, the names Cheryl Studer, Deborah Voigt, Alessandra Marc, Anne Schwanewilms come to mind.


A young Eva Marton was electrifying as the Empress at the San Francisco Opera in 1981


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## DavidA (Dec 14, 2012)

julide said:


> How? For me it goes so fast and i'm just caught in the drama of it all shivering and convulsing.


I find it hard work listening to it


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## Aerobat (Dec 31, 2018)

DavidA said:


> I find it hard work listening to it


It's odd... I love attending a performance but struggle to simply listen to a recording. I find the same with Rosenkavalier, a live performance is captivating but music only as a recording does nothing for me.


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## Zhdanov (Feb 16, 2016)

DavidA said:


> I find it hard work listening to it


listening and watching the subtitles might help -


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## damianjb1 (Jan 1, 2016)

Barelytenor said:


> Yeah, I couldn't agree more about Marilyn Zschau. Here is that video. She is stupendous, scary as all heck. And Debbie Voigt shines here -- vocally and literally -- way pre-little-black-dress.
> 
> 
> 
> ...


This is fabulous. It's over the top and a bit camp. But it's wonderful. And Deborah Voigt is astonishingly good. Glorious singing.


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