# Round Two Elektra's Monologue Contest: studio Nilsson and studio Varnay



## Seattleoperafan (Mar 24, 2013)

This could be an interesting contest. Nilsson was the overwhelming favorite of the Opera Forum members when I posted a thread about member's favorite Elektra. On the other hand Astrid Varnay in 1953 was still in good voice and I read an article years ago where music critics chose her as the best Elektra. One advantage she has over Nilsson is a much stronger lower register and there are many low lying passages in this aria. Varnay is a Germanic language thespian of great repute. Enjoy and let me know what you think.


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## MAS (Apr 15, 2015)

I prefer Nilsson’s recording in this contest - it was my first and only for a long time and it’s still unbeatable, to me. Varnay would be a stupendous Elektra to see, no doubt. But hers would be a complementary recording to have in my collection if I did have it.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> I prefer Nilsson's recording in this contest - it was my first and only for a long time and it's still unbeatable, to me. Varnay would be a stupendous Elektra to see, no doubt. But hers would be a complementary recording to have in my collection if I did have it.


I see the Nilsson album cover of Elektra and I am 15 years ago in my room in Mississippi. Very sentimental for me.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> I see the Nilsson album cover of Elektra and I am 15 years ago in my room in Mississippi. Very sentimental for me.


Was it good for her too?


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## Woodduck (Mar 17, 2014)

Astrid Varnay related with amusement and good grace how she and Nilsson, both being large-voiced Wagnerian sopranos with similar facial structures, were sometimes mistaken for each other by visitors to Bayreuth when they were both appearing there. 

Varnay sings this scene well, with a big, steady, cutting voice and a dark timbre that suits the work's grim atmosphere nicely. I enjoyed her more in this than I do in most other things. That said, I'm surprised she doesn't do more with the words, or with dynamic shadings that might give the scene more shape. Her great weakness, as usual, is above the staff, where the highest notes are not much more than screams on pitch, hard and harsh. Even in Elektra we have a right to hope for vocal freedom in Strauss's climaxes.

Nilsson, as always (at least before she sang her final Elektras in her 60s), gives us that freedom in spades, and everything else the part requires. She and Solti pace the scene superbly, building it from a quiet, introspective beginning, and she finds many opportunities to soften her tone, bringing to this character on the edge of madness a sympathetic femininity that allows me to enjoy the character and the music in a way I don't always. Nilsson's three best roles were, probably, Elektra, Isolde and Brunnhilde, and in the first of these I would rather hear her than anyone else I've encountered.

With respect paid to Varnay, I think Nilsson nails this, and it wasn't a tough choice for me.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Astrid Varnay related with amusement and good grace how she and Nilsson, both being large-voiced Wagnerian sopranos with similar facial structures, were sometimes mistaken for each other by visitors to Bayreuth when they were both appearing there.
> 
> Varnay sings this scene well, with a big, steady, cutting voice and a dark timbre that suits the work's grim atmosphere nicely. I enjoyed her more in this than I do in most other things. That said, I'm surprised she doesn't do more with the words, or with dynamic shadings that might give the scene more shape. Her great weakness, as usual, is above the staff, where the highest notes are not much more than screams on pitch, hard and harsh. Even in Elektra we have a right to hope for vocal freedom in Strauss's climaxes.
> 
> ...


With much respect, I don't with my ears hear the harsh screams of Varnay in this.I thought she had a wonderful high C. I very much like her high notes here, but this would not be the first time my hearing of things conflicts with the better minds of this group. To me she has a very dark voice till she gets above G5 and then it becomes gleaming and cutting. I like this contrast.
I read that about Nilsson and Varnay looking similar. Nilsson's face was much longer and more angular in her 30's in the 50's when they were at Bayreuth together.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> With much respect, I don't with my ears hear the harsh screams of Varnay in this.


Play Varnay at 7:49 and 8:56 and Nilsson at 7:36 and 8:39. If I heard Varnay from the apartment next door I'd call the police.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Play Varnay at 7:49 and 8:56 and Nilsson at 7:36 and 8:39. If I heard Varnay from the apartment next door I'd call the police.


Even on those rare occasions when I don't agree with what you say, I still like the way you say it. You always amuse me!


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## nina foresti (Mar 11, 2014)

Here I sit in my lonely corner while the rest of you enjoy your Nilsson party (because Birgit sure has the goods), but even better for me was the committed performance by Varnay which tipped the scales in her favor for me.


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## nina foresti (Mar 11, 2014)

nina foresti said:


> Here I sit in my lonely corner while the rest of you enjoy your Nilsson party (because Birgit sure has the goods), but even better for me was the committed performance by Varnay which tipped the scales in her favor for me.


Having now read the others' posts, I must agree that I too did not hear any screechy sound come from Varnay. I simply found hers to be the more exciting voice even though the usual queen for me is Birgit.


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Having now read the others' posts, I must agree that I too did not hear any screechy sound come from Varnay. I simply found hers to be the more exciting voice even though the usual queen for me is Birgit.


Darlin', I voted with you. I originally wanted to post Nilsson's version of this from her farewell performances at the Met at age 64, but I yielded to the guidance by others who didn't want that version but this instead. Her voice had aged for sure but she still in my opinion sang really really well, but more importantly she had studied the role with Wieland Wagner at Vienna and I'm not sure even Callas could have delivered a more committed performance. She got an ovation so long in Vienna that the orchestra went out to eat and when they came back for their instruments the audience were still at it!!!!!!!! She did the same thing with Wieland with Isolde originally and at first he hesitated but she said even though she had sung likely a hundred performances of Isolde she would forget everything she knew about the role and do it exactly the way he instructed her. May I suggest you watch the last few minutes of her live performance at least to see her riveting performance.


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## Barbebleu (May 17, 2015)

It’s nice to peruse a thread where even disagreements are both civilised and amusing. Curmudgeons take note!

Oh, btw, Nilsson!


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## nina foresti (Mar 11, 2014)

Seattle:
I always prefer live to recorded so I much appreciated the live Nilsson and would likely have voted for it over Varnay. I decided to play the Varnay once again and got a reprimand from the next room saying, "turn that thing off, it hurts my ears!" 
So looks like my mate is on "Team Woodduck" as well.


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## The Conte (May 31, 2015)

Thanks for the next segment of this Elektra contest. These two versions are a step up from the first two and I found it interesting that the Nilsson (which I am very familiar with) felt so fresh and new to my ears. Whereas I hadn't heard Varnay's before. Whilst Varnay is more committed than the previous two, I dislike her tone and am surprised that her diction isn't as good as it could be (there's quite a bit of 'potato' in the mouth). She's also hampered by the already noted off high notes and her voice is unsteady in places.

Nilsson, on the other hand, is the real deal. I'm not a fan of Nilsson, but this is stupendously done. How does she manage to be soft AND aggressive, as much vengeful as womanly? It's a great performance by any stretch of the imagination.

I vote Nilsson!

N.


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## Woodduck (Mar 17, 2014)

nina foresti said:


> Seattle:
> I always prefer live to recorded so I much appreciated the live Nilsson and would likely have voted for it over Varnay. I decided to play the Varnay once again and got a reprimand from the next room saying, "turn that thing off, it hurts my ears!"
> So looks like my mate is on "Team Woodduck" as well.


ut: .....................


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> Darlin', I voted with you. I originally wanted to post Nilsson's version of this from her farewell performances at the Met at age 64, but I yielded to the guidance by others who didn't want that version but this instead. Her voice had aged for sure but she still in my opinion sang really really well, but more importantly she had studied the role with Wieland Wagner at Vienna and I'm not sure even Callas could have delivered a more committed performance. She got an ovation so long in Vienna that the orchestra went out to eat and when they came back for their instruments the audience were still at it!!!!!!!! She did the same thing with Wieland with Isolde originally and at first he hesitated but she said even though she had sung likely a hundred performances of Isolde she would forget everything she knew about the role and do it exactly the way he instructed her. May I suggest you watch the last few minutes of her live performance at least to see her riveting performance.


I heard the Met broadcast of _Elektra_ in 1980. I was familiar with the Solti recording, and as a fan of Nilsson was sad to hear her vocal decline, but what I found interesting was that as the performance progressed the voice seemed to regain a measure of its old ease and freedom. This was consistent with what I heard live in 1972 at the Met's _Tristan,_ when she was still more or less in her prime; the voice sounded just fine in Isolde's wild outburst at the beginning of the opera, but by the "Liebestod" it had gained an added lightness and beauty. Nilsson said that she didn't do warmup exercises but used the performance itself to warm up. It's not hard to believe her response to being asked after a performance whether the role of Isolde was exhausting: "I could get right back onstage and sing it again." We presume that she would have required, as she also remarked, a comfortable pair of shoes.

They do produce sturdy stock on Swedish farms.


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## Tsaraslondon (Nov 7, 2013)

Well both versions confirm my assertion that I really don't like this opera. I've never much liked Nilsson either, though Elektra was the only role I ever liked her as, but, as I don't like the opera, I suppose that is faint praise. Anyway she makes a more bearable noise than Varnay so she gets my vote. Sorry to be so negative. Just not my cup of tea.

I didn't watch the staged version as I didn't want put myself through it again.


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## Seattleoperafan (Mar 24, 2013)

I'm very very excited about the next two artists in this contest, either of which could get the golden laurel from some of you. You might not be a familiar with them but after hearing them you won't forget either. This one got some lively discussion. Thanks.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Astrid Varnay related with amusement and good grace how she and Nilsson, both being large-voiced Wagnerian sopranos with similar facial structures, were sometimes mistaken for each other by visitors to Bayreuth when they were both appearing there.
> 
> Varnay sings this scene well, with a big, steady, cutting voice and a dark timbre that suits the work's grim atmosphere nicely. I enjoyed her more in this than I do in most other things. That said, I'm surprised she doesn't do more with the words, or with dynamic shadings that might give the scene more shape. Her great weakness, as usual, is above the staff, where the highest notes are not much more than screams on pitch, hard and harsh. Even in Elektra we have a right to hope for vocal freedom in Strauss's climaxes.
> 
> ...


She was noted as a great actress, but maybe Varnay was better with physicality than words, a specialty of Callas.


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