Strauss - Elektra / Marton · Studer · Lipovsek · Weikl · Winkler · Sawallisch

1. Elektra, opera, Op. 58 (TrV 223)
   Composed by Richard Strauss
   Performed by Bayreuth Festival Orchestra & Chorus
   with Carmen Anhorn, Dorothea Geipel, Shirley Close, Kurt Moll, Ulrich Ress, Caroline Maria Petrig, Marjana Lipovsek, Victoria Wheeler, Julie Faulkner, Eva Marton, Hermann Winkler, Bernd Weikl, Cheryl Studer, Alfred Kuhn, Birgit Calm, Daphne Evangelatos
   Conducted by Wolfgang Sawallisch
   
   

Strauss - Elektra / Marton · Studer · Lipovsek · Weikl · Winkler · Sawallisch,Richard Strauss,Wolfgang Sawallisch,Eva Marton,Cheryl Studer,Symphonie-Orchester des Bayerischen Rundfunks,Chor des Bayerischen Rundfunks,Marjana Lipovsek,Bernd Weikl,Hermann Winkler,Kurt Moll,Victoria Wheeler,Dorothea Geipel,Ulrich Ress,Alfred Kuhn,Carmen Anhorn,Daphne Evangelatos,Shirley Close,Birgit Calm,Julia Faulkner,Caroline Maria Petrig,Angel Records,Classical,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: Sawallisch is the star Not the best

Strauss - Elektra / Marton · Studer · Lipovsek · Weikl · Winkler · Sawallisch Richard Strauss , Wolfgang Sawallisch , Eva Marton , Cheryl Studer , Symphonie-Orchester des Bayerischen Rundfunks , Chor des Bayerischen Rundfunks , Marjana Lipovsek , Bernd Weikl , Hermann Winkler , Kurt Moll , Victoria Wheeler , Dorothea Geipel , Ulrich Ress , Alfred Kuhn , Carmen Anhorn , Daphne Evangelatos , Shirley Close , Birgit Calm , Julia Faulkner , and Caroline Maria Petrig Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Studer, Cheryl | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B000002RRP Release Date: 1991-07-01

Tracks:

1. Wo Bleibt Elektra
2. Ich Will Vor Ihr Mich Niederwerfen
3. Allein! Weh, Ganz Allein
4. Elektra! Ah, Das Gesicht!
5. Ich Kann Nicht Sitzen Und Ins Dunkel Starren
6. Es Geht Ein Larm Los
7. Was Willst Du? Seht Doch, Dort!
8. Ich Habe Keine Guten Nachte
9. LaBt Du Den Bruder Nicht Nach Hause, Mutter?
10. Was Bluten MuB?
11. Alles Schweigt, Du Horst Dein Eignes Herz
12. Orest! Orest Ist Tot!

Tracks:

1. Platz Da!
2. Nun MuB Es Heir Von Uns Geschehn
3. Wie Stark Du Bist!
4. Von Jetzt An Will Ich Deine Schwester Sein
5. Sei Verflucht!
6. Was Willst Du, Fremder Mensch?
7. Die Hunde Auf Dem Hof Erkennen Mich
8. Es Ruhrt Sich Niemand!
9. Du Wirst Es Tun?
10. Seid Ihr Von Sinnen
11. Ich Habe Ihm Das Beill Nicht Geben Konnen!
12. Es MuB Etwas Geschehn Sein
13. He! Lichter! Lichter!
14. Helft! Morder!
15. Elektra! Schwester!
16. Ob Ich Nicht Hore?
17. Sie Fahren Dahin Wie Die Scharfe Des Schwerts
18. Schweig, Und Tanze

Customer Reviews:

Sawallisch is the star.......2007-04-15

There have not been in my opinion, many great Elektras. It is a role that demands a superhuman voice, powerful throughout the range, but with secure unrelenting top notes as well. Dramatically we have had some great singers in the role-Varnay, Behrens, Rysanek in her film, but vocally they have been short on the requirements in one way or another.

Nilsson some would argue was a great Elektra. I will admit whe was formidable in the role, but it taxed even her great voice, and even she stated publicly she wasn't so sure if it was good for her voice. Her recording has some great moments, but there are times when I am not dramatically convinced.

There is only one woman who I believe could sing this role as Strauss intended, a soprano whom he admired personally in fact. I urge all of you to seek her out. She was Gertrud Grob-Prandl. Once you have heard this legenday heroic soprano sing this role, you will understand how Nilsson to me, sounds like she's falling asleep in the role!

Now for the current selection:

Marton comes under a lot of criticism in her studio recordings. Hers was not an easy voice to mike, and I believe she may have been intimidated by the studio setting. That said, this recording does exhibit SOME of the deficiencies of her singing in other studio recordings, but as a whole, this recording shows some of her best work.

Marton was once quoted as saying "I'm absolutley mad about Strauss". Indeed, her enthusiasm for this role is evident, and I believe she is more successful in this role than even Turandot. She is fully commited throughout, but especially so from the recognition scene on. Her big moments in the first half of the opera are quite good, but do display an occasional squally tone in the top register indicative of a singer trying to "reign it in". I believe that the engineer did indeed have the levels artificially boosted a bit, but I believe it was an attempt to allow the words to be clearly heard. Those who have seen Marton live in her dramatic prime know that this voice was not underpowered. If you are familiar with the dramatic soprano voice, you will recognize this "scaling back" quality she exhibits here.

From the recognition scene on however, a transformation seems to occur that shows all of the cast absolutley inspired by Sawallish's conducting. Marton finds real security in her top notes, some truly awesome in their power. The recognition scene in particular is I believe the finest on record-Marton's singing displays superb control-especially in her control of dynamics. Her singing is beautiful, powerful, even resplendent in this scene. You will not be unmoved by it.

Studer is magnificent. There are not enough adjectives to describe her performance-and unlike Marton, she does not "reign it in", letting her top notes soar over the orchestra. Lipsovek is also fine, with death screams that are absolutely terrifying. The first time you experience her murder, you will shake your head in amazement-it is not for the squeamish.

Sawallisch conducts magnificently, and build tremendous tension from the recognition scene until the finale. The two final notes stomp this fine performance permanently into my memory.

In all, a great performance-highly recommended, but look for the issuing of a complete Elektra with Grob-Prandl. THE Elektra of the century.

Not the best.......2003-09-11

Eva Marton is one of today's top dramatic sopranos but she is not the best recorded Elektra. I think that even Hildegard Behrens is better than Eva Marton. Behrens has a more radiant top register compared with Marton. Nevertheless, this is a very good Elektra performance. This is one of only two truly complete recordings of Elektra. Only the Solti Elektra with Nilsson under Decca and this Elektra is complete - every single note is there. All other recordings have been cut (yes, that includes other studio recordings). I don't like this recording as much as Solti's. Firstly, Eva Marton is no match for Birgit Nilsson. Eva Marton's top B's and C's are not as good. Also, listen to the final monologue of Elektra in the Elektra-Klytamnestra Duet - Marton sounds like she is whispering. Her performance is very tame and this is not in keeping with the text. Here Elektra is supposed to be making all kinds of threats at Klytamnestra not whispering tame words at Klytamnestra. Birgit Nilsson on the other hand is all fury and ready to strangle Klytamnestra - exactly what the text requires. Cheryl Studer on the other hand is a superb Chrysothemis. Her performance is magnificent. Sawallisch is a very good conductor but the orchestra sounds very recessed in the recording. Perhaps the engineers dim the orchestra so that Marton can be heard? But that makes the sound somewhat artificial.

At the end of the day, there are many other great performances of Elektra out there that you should sample before coming to this. Firstly, there is Birgit Nilsson's classic Elektra - absolutely stunning. Then there is Astrid Varnay's incredible Elektra in 1953 in super clear mono sound, almost like thin stereo. It was a studio recording made for broadcast - in other words it is a studio recording in superb sound. The Varnay set is available under Koch Schwann in Amazon. Priced at full-price it has the incomparable Leonie Rysanek as Chrysothemis in freshest and most thrilling voice. It is worth every cent and could match the Nilsson set in stereo!! It goes without saying that Varnay sings with more dramatic sense, more security of voice and more vocal heft than Marton. Strangely, the mono sound in 1953 is far better than this stereo digital in 1990, which makes you wonder whether at all recording technology has improved that much. Well, I suppose the technology has improved but the engineers or whoever does not seem to know how to use it to proper effect. Then you have Leonie Rysanek's Classic Elektra in the Goltz Friedich's film. It is available on DVD. Alternatively, there is an excerpt disc on Orfeo under the great singers of the century series. Just look for Orfeo great singers of century - Leonie Rysanek. Then of course, we have Inge Borkh in the Bohm set from 1960 under Deutsche Grammophon. All 4 singers I mentioned are better than Marton in my view. As for current Elektras, as good as Marton is, I think Behrens is a better Elektra. For that you can get her 1988 performance(Philips) with the incredible Christa Ludwig , ever so dramatic, or the 1995 performance (Naive) with Leonie Rysanek now as Klytamnestra !! Behrens has better top notes than Marton and the recorded sound is better on Philips and Naive. So, this makes a great 4th or 5th set, but as an only set or as a first set, it does not compare with the best. Of course, judgement is subjective. Perhaps you like Eva Marton whispering threats at her mother. Perhaps you do not like Birgit Nilsson's powerful voice. Then perhaps you can buy this as a first set of your Elektra. But I would stick to my Birgit Nilsson, Astrid Varnay and Leonie Rysanek for my primary listening.

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