# Round One Elektra: Allein weh ganz allein. Hildegard Behrens and Marilyn Zschau



## Seattleoperafan (Mar 24, 2013)

One of my two or three favorite arias is Elektra's great monologue at the beginning of the opera. You may not be a fan of the opera but this aria has it all from brooding and spooky to not one but two climactic high C's.
I begin with two video performances. People who saw Behrens in the role thought she was fantastic. I saw Marilyn Zschau onstage in the role and she was absolutely incredible. Huge, expressive voice an incredible acting. I've never seen another opera singer create such a profound character portrayal in a concert recital like in this video. I have some great divas for this contest.Enjoy.


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## Woodduck (Mar 17, 2014)

I tried not to watch these ladies, wishing not to be distracted from their vocal accomplishments. That was probably a mistake. Really, how much can a singer, _qua_ singer, do with this role? The vocal lines are declamatory, jagged, and for the most part unmemorable. Mainly you just need power and clarity throughout a wide vocal range so as not to be swamped by the orchestral climaxes. Neither of these ladies is named Birgit, and neither of them tosses off this stuff with her ease and brilliance, but they do a decent job.

Since I'm going solely by voices here, I'll have to choose Behrens, whose vibrato, though slightly annoying, at least doesn't obscure the pitch the way Zschau's does. But where's the ballot box?


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## Tsaraslondon (Nov 7, 2013)

I probably shouldn't vote as I don't much like the opera. It's also the only role I've ever really enjoyed (if that's the right word) Nilsson singing.

Of the two sopranos here, I prefer Behrens. Her vibrato was a tad distracting at the beginning, but either she got it better under control or I noticed it less as we got into the aria. The top note towards the end was a stunner too - and much better than Zschau's. If there were somewhere to vote I'd vote for Behrens.


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## The Conte (May 31, 2015)

I love this opera and the play it is based on (no wonder Freud recognised its psychological insight). The difficulty of this contest for me is that Behrens clearly has the better technique (Zschau's voice production isn't centred on the vowel, so we get a blowsy, unfocused sound that is unpleasant at times). However, Zschau is more dramatically convincing. Neither is Nilssson or Marton, but Zschau gets my vote for a performance I would have loved to have seen, but probably wouldn't want to listen to often.

N.


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## Seattleoperafan (Mar 24, 2013)

The Conte said:


> I love this opera and the play it is based on (no wonder Freud recognised its psychological insight). The difficulty of this contest for me is that Behrens clearly has the better technique (Zschau's voice production isn't centred on the vowel, so we get a blowsy, unfocused sound that is unpleasant at times). However, Zschau is more dramatically convincing. Neither is Nilssson or Marton, but Zschau gets my vote for a performance I would have loved to have seen, but probably wouldn't want to listen to often.
> 
> N.


Thanks. Zschau was the closest I came to seeing someone act with Callas like intensity. You didn't notice her voice so much when she was onstage. A riveting performance. Behrens voice sounded really good here I think.


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## Woodduck (Mar 17, 2014)

My two favorite comments on _Elektra_ come from the composer and from Ernestine Schumann-Heink, the first Klytaemnestra. Schumann-Heink said, "I will never sing it again. It was frightful! We were a set of mad women." Strauss, on the podium, said, "Play louder. I can still hear Mme. Schumann-Heink."


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## MAS (Apr 15, 2015)

If I were casting Elektra, I would cast neither lady here. I love the opera; Behrens is overparted, pushing her lyric soprano beyond its limits. Zschau has a bigger sound, but not a very pleasing tone, a bit raspy - she is an over the top kind of singer, which fits the part in this case. Both are intense singers with good physical acting ability. Both have surprising high notes. I’ll reserve the vote for another day.


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## Barbebleu (May 17, 2015)

Woodduck said:


> My two favorite comments on _Elektra_ come from the composer and from Ernestine Schumann-Heink, the first Klytaemnestra. Schumann-Heink said, "I will never sing it again. It was frightful! We were a set of mad women." Strauss, on the podium, said, "Play louder. I can still hear Mme. Schumann-Heink."


Exactly the reasons I love this opera!:lol:


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## Barbebleu (May 17, 2015)

Btw, I voted Behrens. Just the right combination of focused and unhinged!:lol:


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