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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)
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.
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)
A fascinating "historic recording" from
Hamburg in 1944. Eugen
Jochum succeeded Karl B–hm 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.
RICHARD KRAUS / West German Radio Orchestra
Astrid Varnay (Elektra); Leonie Rysanek (Chrysothemis); Res Fischer (Klytämnestra);
Helmut Melchert (Aegisth); Hans Hotter (Orest).
K–lner Rundfunk Orch/Richard Kraus, cond.
GALA GL 100.512 (2 CDs) (rec. Aug. 1953) (also contains excerpts from Der
Rosenkavalier). (Same performance, minus Rosenkavalier, is also
available on KOCH-SCHWANN 3-1643-2)
Gala's budget-priced issue with Astrid
Varnay, Leonie Rysanek and Res Fischer is a German Cologne radio performance
apparently
without an audience from August 1953. Varnay, then in her prime (a year
after her superb Met performances with Reiner), is magnificent, fearless on
those high notes, with Rysanek at her best as well. Res Fischer, then at
the beginning of her career, is Klyt”mnestra, providing an appropriate cackle
when she learns of Orestes' supposed death as well as a vivid scream as she is
murdered. Richard Krauss obviously is not Solti or
Reiner; there are few orchestral fireworks, but he provides an
effective pause after the second death cry of Klytämnestra. The well filled
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, with satisfactory mono sound.
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Inge Borkh
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Christel Goltz
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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)
Goltz was one of the leading Elektras
of the '50s and one of B–hm'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 / DRESDEN STATE ORCHESTRA
Inge Borkh (Elektra); Marianne Schech (Chrysothemis); Jean Madeira (Klytämnestra);
Fritz Uhl (Aegisth); Dietrich Fischer-Dieskau (Orest)
DGG 431 737 (2 CDs) (rec. Dresden 1960)
Karl B–hm'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
B–hm's first commercial recorded representation of the score—and it is superb. Fine
orchestral playing—and the early stereo recording is spacious and
natural.
KARL BÖHM / VIENNA STATE OPERA
ORCHESTRA
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)
B–hm's 1965 Vienna recording is
essential for all lovers of Elektra.
What a cast! Nilsson, Rysanek and Resnik, with Windgassen and W”chter 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.
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Erna Schlüter
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Astrid Varnay
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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)
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.
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)
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. 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 the live
performance mentioned above, he makes a considerable pause (as does Richard Kraus)
after the
second scream as Klytämnestra is murdered—a terrific theater 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.
Hildegard Behrens (Elektra); Nadine
Secunde (Chrysothemis); Christa Ludwig (Klytämnestra);
Ragnar Ulfung (Aegisth); Jorma Hynninen (Orest).
Boston Symphony Orch/Seiji Ozawa, cond.
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, B–hm,
Reiner and Mitropoulos. Admirers of Behrens and Ludwig surely will wish to have
this recording.
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 rec. 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. This
is the only recording I know of where she sings this role. 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.
FRITZ REINER/Chicago Symphony Orchestra
Inge Borkh (Elektra); Frances Yeend (Chrysothemis); Paul Schoeffler (Orest):
RCA 68386 (also contains Salome "Dance of the
Seven Veils: and final scene 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 RCA recorded some excerpts: 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
like Columbia's oversight in 1949 when they recorded just the final scene
of Salome with Reiner and Ljuba Welitsch. We can be thankful
for what we have—and it is 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.
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 H–ngen, 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 quite superior). 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 Klyt”mnestra and 3
of
Herodias. Doubtless eventually this Elektra will be issued on CD; it is
superb.
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)
Inge Borkh's live New Orleans Opera
performance of December 1966 is one of many performances of 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 ProphËte , Lucia di Lammermoor, La Favorite and La
Fille du Regiment took place in New Orleans along with Mignon, Le Cid,
Esclarmonde, HÈrodiade 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.
DIMITRI MITROPOULOS / VIENNA PHILHARMONIC ORCHESTRA
Inge Borkh (Elektra); Lisa della Casa (Chrysothemis); Jean Madeira (Klytämnestra);
Max Lorenz (Aegisth); Kurt B–hme (Orest)
ORFEO C 456 972 1 (Salzburg Festival August 7, 1957)
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.
Jean Madeira, Inge
Borkh, Lisa Della Casa and conductor Dimitri Mitroupoulos
after a performance of Elektra in Salzburg in 1957
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)
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.
DIMITRI MITROPOULOS / FLORENCE MAY FESTIVAL ORCHESTRA
Anny Konetzni (Elektra); Danitza Ilitsch (Chrysothemis); Martha M–dl (Klytämnestra);
Hans Braun (Aegisth); Franz Klarwein (Orest)
WARNER CLASSICS 43560 (2 CDs) (rec. live 1950)
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 M–dl. 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.
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Steger/Tarres/
M–dl/C. Kleiber
Stuttgart 1971
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Varnay/Hillebrecht/
M–dl/Karajan
Salzburg 1964
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Polaski/Marc/
Meier/Barenboim
Berlin 1995
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CARLOS KLEIBER / WÜRTTEMBURG
STATE OPERA ORCHESTRA
Ingrid Steger (Elektra); Enriqueta Tarres (Chrysothemis); Martha M–dl (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 conducts only when
he feels
like it and refuses many offers. One
can only wonder why he accepted this 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,
appears in an aria from Salammbó composed, like all music for the film, by
Bernard Herrmann. Martha M–dl is balm for the
ears, a reliable artist in fine form. Kleiber's interpretation is in the
Mitropoulos/Reiner tradition but this recording has minimal interest vocally.
Tragic!
The sound is adequate to convey the performance.
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)
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!" Elektra was an opera Karajan occasionally
conducted in his earlier years finally presenting it at the Salzburg
Festival in 1964/65. Karajan had been appointed artistic director of the
Salzburg Festival in 1957—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.
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.
KARL BÖHM / MUNICH
NATIONAL THEATER ORCHESTRA
Ursula Schr–der-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)
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
B–hm 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 B–hm; 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 B–hm.
SIR THOMAS BEECHAM / ROYAL PHILHARMONIC ORCHESTRA
Erna Schlüter (Elektra); Ljuba Welitsch (Chrysothemis); Walter Widdop (Aegisth);
Paul Schoffler (Orest)
PREISER 90341 (recorded Oct. 1947)
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. 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 was presented at the 1947
Strauss festival, reason enough to have this CD.
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
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.
Which recording
to own? Surely the Solti/Nilsson is
essential in spite of a Chrysothemis not up to the standard of the two other
prima donnas, with Decca's sonics standing up to today's best. For a live
performance, the 1965 Vienna performance with B–hm, Nilsson, Rysanek
and Resnik is unbeatable. For a Mitropoulos recording, I'd choose the 1957 Salzburg performance. I wouldn't want to
be without the Beecham live recording simply because of the Chrysothemis of Ljuba
Welitsch.
R.E.B.
(April 2002)
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