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)

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. 

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 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)

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.

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)

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 Mödl (Klytämnestra); Hans Braun (Aegisth); Franz Klarwein (Orest)
WARNER CLASSICS 43560 (2 CDs) (rec. live 1951)

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
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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 B­hme (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.

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.1947)
WAGNER: Excerpts from Die Walküre, Siegfried, and Tristan und Isolde sung by Erna Schlüter.
MYTO MCD 946.117 (2 CDs)

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)

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.

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)

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.

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)
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Inge 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.

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 the 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.

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)
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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.

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)

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.