Richard Strauss: Elektra

1. Elektra, opera, Op. 58 (TrV 223)
   Composed by Richard Strauss
   with Daniel Galvez-Vallejo, Hanna Schaer, Uwe Peper, Liliana Nichiteanu, Leonie Rysanek, Hildegard Behrens, Mireille Delunsch, Luana DeVol, Wolfgang Schone, Dalia Schaechter
   Conducted by Friedemann Layer
   
   

Richard Strauss: Elektra,Wolfgang Schone,Richard Strauss,Friedemann Layer,Dalia Schaechter,Leonie Rysanek,Liliana Nichiteanu,Hanna Schaer,Hildegard Behrens,Luana DeVol,Mireille Delunsch,Daniel Galvez-Vallejo,Uwe Peper,Naive,Classical,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: One of the best If You Own A SACD Player, Buy This Hybrid SACD. If You Have A Normal CD Player, Buy The Earlier Plain CD "Living Stereo" Version Barnstorming in the Concert Hall! Hair raising Strauss!!

Richard Strauss: Scenes from Salome & Elektra [Hybrid SACD] Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: César Franck: Symphony in D Minor; Igor Stravinsky; Pétrouchka [Hybrid SACD] Mahler: Symphony No. 4 [Hybrid SACD] Brahms, Tchaikovsky: Violin Concertos [Hybrid SACD] Rhapsodies [Hybrid SACD] Respighi: Pines of Rome; Fountains of Rome; Debussy: La mer [Hybrid SACD] ASIN: B0009U55S8 Release Date: 2005-07-26

Customer Reviews:

One of the best.......2007-05-15

Fantastic. Different as I remember foim initial release in Australia in early 80s. I think many cuts were made for political reasons.

If You Own A SACD Player, Buy This Hybrid SACD. If You Have A Normal CD Player, Buy The Earlier Plain CD "Living Stereo" Version.......2006-11-08

Hey there, fans of Strauss and Reiner, this is a phenomenal recording no doubt, but I have to warn people that this Hybrid SACD doesn't sound as good in a standard CD player as the earlier version of this recording.

Of course if you have a SACD player, you should buy this thing, but if you are like most people who have standard stereos, the original release will sound superior in your normal CD player than the Hybrid SACD. Trust me on this one, I am a perfectionist and an audiophile.

Barnstorming in the Concert Hall!.......2005-12-21

These performances are amazing! The soundstage simply disappears out both sidedoors of the auditorium. If you don't like singing the Dance of the Seven Veils is so good it justifies the cost. One of the great performances of all time!

Hair raising Strauss!!.......2005-08-05

This is a great issue in this SACD series. Borkh has just the right sound for Elektra and Salome. Reiner backs her up perfectly. The CSO is in top form. Listen to the brass and you can be in heaven or hell.(Depends on your taste for his operas.)
Absolutely outstanding. The DSD remastering is phenominal!!

Average customer rating: A harrowing and shocking musical journey A Powerhouse Recording that Deserves All Praise This is the most recent release of Solti's famous recording of Elektra

Richard Strauss: Elektra Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Richard Strauss: Salome [Remastered] Johann Strauss: Die Fledermaus Moonswept Becket Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini ASIN: B000KLRUJS Release Date: 2007-05-08

Customer Reviews:

A harrowing and shocking musical journey.......2007-07-12

If Richard Strauss's Salomé was a horrid tale of insanity and (peripherally) necrophilia created through unbridled lust and jealousy, Elektra is a grisly story of madness sparked by cold, dissonant revenge. Both of the operas, composed within a few years of each other, retain similar musical formulas: both take a Freudian plunge into the deepest, unknowable crevices of the human psyche with alarming and disturbing results. (Salomé's overwhelming love aria to Jochanaan's severed head ["Ah! Du wolltest mich nicht deinen Mund küssen lassen"] is a perfect example from the former opera.)

However, few similarities exist between their moods. From the first bar of Salomé, the listener is submerged in the moonlit, perfumed, Arabian night of Judea, with erotic bacchanals and limitless orgies; the opening of Elektra is an oppressive death motif and sets a stage of decay, filth, pain, and malice. The two title characters are strikingly different, through they are both princesses. Salomé is an oversexed teenager, a flighty, precocious nymph driven to her sanity's limits by jealousy and rejection; Elektra is not insane (at least, not in the same capacity). Elektra suffered no trauma when her father, Agamemnon, was slaughtered in his bath by his wife, Klytämnestra, and her lover, Aegisth; she is fully aware of what occurred. Her apparent insanity is vested in the fact that she is determined to avenge her father, with the assistance of her long-abandoned brother, Orest, in a decidedly homicidal manner.

Sir Georg Solti was, of course, the master of both of these wondrous operas, and no finer orchestra could have suited him than the mighty Wiener Philharmoniker. The entire score is much like the tone poems (Also sprach Zarathustra, Don Juan, Don Quixote, Ein Heldenleben) which garnished Strauss so much early fame. However, there are certain non-vocal points in which Solti truly excels, notably the opening Agamemnon motif, a poignant, jarring death-wail of misery and woe; the appearance of Klytämnestra, set to the rhythm of a brutal, inhuman march; the brief, tense span after the exit of the two bickering servants; Elektra digging up the axe; Orest's entrance into the castle, followed by Elektra realizing that she forgot to give him the axe; the brief span (accentuated by a harp, no less) before Aegisth enters the castle; and the strange waltz symbolizing Elektra's victorious dance, a motion unseemly and unnatural to onlookers. All of this combines to create an image of this gloomy, ramshackle palace in Mycenae. Every note details the blood-spattered walls, the moldy air, the cramped hallways, and subterranean labyrinths. Hofmannsthal's words also paint grisly images of perpetual births and murders and dwellers reclining on piles of contorted corpses.

Birgit Nilsson did not perform the role of Elektra. She injected the blood of Elektra into her own veins, just as she became the wounded Valkyrie Brünnhilde, the icy Princess Turandot, and the benevolent, self-sacrificing wife Leonore. Nilsson lives through Elektra to hate, to scorn, to seethe, to compile all her passions and energies into the single goal of avenging Agamemnon. This paradoxically level-headed hysteria is heard in her first monologue ("Allein! Weh, ganz allein"), in which she invokes like a priestess the name "Agamemnon" and recounts to the listener, in the most squalid and wretched detail, the manner in which her father's head was split with an axe and his body was dragged, headfirst, from the foaming, scarlet bath. She reaches a fever pitch at its conclusion, insisting that she will slice the throats of his enemies, his horses, and his hunting dogs, and pour the barrels of collected blood around his tomb; then he, she, and Orest will dance in the ecstasy of victory. Her wild, outraged monologue to her mother ("Was bluten muß? Dein eigenes Genick") is no less daunting. Elektra is merciless as she describes how Orest will enter Klytämnestra's bed chamber, chase her from it, back her into a corner, and then, in a brief eternity of villainy and contempt, make the queen wait for the fatal blow; Nilsson rips through the terrible aria like a viper, with venom and spittle pouring across the vile words.

The crowning achievement of Elektra's musical persona is the recognition monologue ("Orest!"), the equivalent of the aforementioned aria in Salomé. It is a massive outpouring of characteristically Straussian melody, richness, and sound. It is also the most delicate moment, a miniscule ounce of humanity within the demented façade of Elektra. Nilsson is too sumptuous and moving to be adequately described; she conveys this moment as the triumph of her entire existence. It is her one happy experience, her first joyful utterance. The monologue is also a look into the pitiful woman's sexuality; it is undoubtedly erotic, with Hofmannsthal's poetic description of Elektra's naked, creamy, nubile body, bathed in the milky light of the moon.

Ultimately conversely, Regina Resnik's Klytämnestra is a suppurating, bloated gorgon. She is a knotted mass of offal, guilt, and spitefulness. Her entrance ("Was willst du?...O Götter, warum liegt ihr so auf mir?") is so violent and callous, one might take it for an outburst of blasphemy. One cannot help but smirk at her horridness as she invokes the gods, wondering why she is forced to suffer "like a wasteland" with nettle growing out of her. Each utterance of "warum" is more unnerving, and strikes the listener in the pit of his or her stomach. She is unendingly foul as she berates her confidante [Margareta Sjöstedt] and the train-bearer [Margarita Lilowa] ("Ich will nichts hören!"), churlishly mocking them for telling her that horrendous "demons with long pointed beaks" suck her blood as she sleeps and insisting that she slaughter sacrificial victim after victim.

However, it is her nightmare monologue ("Ich habe keine guten Nächte"..."Ja, du! denn du bist klug") that is truly dreadful. Here, Strauss could be mistaken for elemental Berg, with brittle, globular dissonance accentuating Resnik's horrified words. The "Etwas" (a nameless "something") which crawls over her at night could only be something indescribably terrifying, some dingy mass of guilt characterized with a leering face and piercing eyes. The monologue descends into further horror. Could Klytämnestra be dead while living, an animated carcass, a breathing pile of rotting sinew and bone? Resnik would have no trouble convincing one that she was.

She also proves her status as a remarkable vocal actress. Her mocking laughter, brought on by the false news that Orest has been killed, is frightfully credible; as she exits the scene, surrounded by torch-bearers, her cruel giggles seem to descend into a churning whirlpool. Later, when Orest murders her offstage, she utters two screams, both of which are inherently different. The first strikes the listener unexpectedly, just as the shadowy figure of the adult Orest, saber in hand, startled the squalid queen into consciousness. The second scream, however, is an animalistic grunt, an attempted repudiation of death by the queen. It is horrible to hear and will haunt the listener perpetually.

Marie Collier's Chrysothemis is the antithesis of Elektra. Chrysothemis is a feminine character who longs for the sexual affections of men and the timeless, natural joys of motherhood ("Ich kann nicht sitzen und ins Dunkel starren"..."Der bist es, die mit Eisenklammern"); Elektra has scarified her sexuality (and, thus, any maternal instincts) unto the memory of her father (as she explained to Orest in the recognition monologue). Collier is particularly potent when she attempts to convince Elektra that her hatred is in vain; Agamemnon is dead and will never be avenged, for Orest will never come back ("Der Vater, der ist tot"). She is infectious in her ecstasy in the finale ("Elektra! Schwester! komm' mit uns!"), as she gleefully tells Elektra that Orest has murdered Aegisth and that the faithful servants have revolted in his honor; her words soar into oblivion, supported by harmonizing praises from the interior chorus.

Tom Krause's Orest is the personified voice of destiny; his is a drawl of terrible and wonderful meaning. His vocal entrance, set against a bleak orchestral backdrop of doom, stands in stark contrast to the frenzied labor of Elektra as she digs up the battle axe. Gerhard Stolze proves his unparalleled genius as a charaktertenor through his performance as Aegisth. He does more with this five-minute role than most singers could throughout an entire recording. His entrance ("He! Lichter! Lichter!") is appropriately condescending and pompous; Strauss' macabre humor is audible in his conversation with Nilsson, who is deviously charming and submissive ("Darf ich nicht leuchten?"). His death-cry ("Helft! Mörder! helft dem Herren!") is not the faux, B-class acting of most operatic singers but rather a believable, hair-curling squeal of horror. Nilsson's cry of "Agamemnon hears you!" ("Agamemnon hört dich!") is as frightening as his following wail of anguish. Tugomir Franc is appropriately domineering as Orest's tutor. Gerhard Unger makes a brief appearance as the fussy young servant who delivers the news of Orest's supposed death to Aegisth. Helen Watts, Maureen Lehane, Yvonne Minton, Jane Cook, Felicia Weathers, and Pauline Tinsley are each singularly defined as the cruel, gossiping maids and their vindictive overseer.

Innovative producer John Culshaw deserves applause for this recording as much as Solti. The slamming of the servants' quarter door during the maids' bickering and gossiping, the pitter-pattering footsteps of Klytämnestra's torch-bearers, and the grimy crunching of Aegisth's steps into the seemingly gaping, hollow citadel are three examples of the master producer who brought so many operas into new realms of life in recordings. Strauss was, of course, a master of the theatre, and it is highly appropriate that a similar master present his work in a recording.

In the end, perhaps the greatest asset of Elektra is that the maestro did not moralize. He was not a devout Christian when he composed Salomé; the musical disgust over Salomé's depraved desires does not stem from any pious pity for the Baptist, but rather over the simple fact that a young girl longs to kiss his dead, bloody lips. It is the same with Elektra. Strauss does not comment on the fact that Agamemnon, who peers down upon the audience from his musical throne, murdered Klytämnestra's daughter Iphigenia in order for the Greeks to fight in the Trojan War. Strauss also declines to comment on the fact that Orest later stood trial before the Furies for committing the double-homicide (that said while excluding the few terrible moments in the finale as the Agamemnon motif is repeated alongside the mournful wails of Chrysothemis, which combine to add an air of momentary uncertainty and, perhaps, regret). In short, the opera is victorious at the end; it is, after all, the opera detailing Elektra's story, not Orest's, and she was, by the end of her life-draining dance of ecstasy, more victorious than any conceivable peer.

A Powerhouse Recording that Deserves All Praise.......2007-06-30

Solti's Elektra was the very first recording to remove all cuts from the score (as with all the Maestro's recorded work). For many listeners such as myself, it is perhaps the definitive Elektra on disc, not only for the high voltage intensity of the singing, but also for Solti's energetic conducting of the score and the magnificent detail at which the entire sound picture of Elektra is revealed in this recording. Although I love Karajan's 1965 Elektra at Salzburg with Astrid Varnay and Jeffrey Tate's 1990 recording from Geneva with Gwyneth Jones and Leonie Rysanek, this recording captures what is perhaps one of the most compelling performances of the opera on record. There is first of all Birgit Nilsson's command performance in the title role. There has never been a soprano who had Nilsson's uncanny ability to sing what is perhaps Strauss' most difficult role for soprano with the kind of ease and power that we can hear in this recording. Perhaps one would wish that a darker timbre and a more "agonized" sound would have taken the role, but Strauss' vocal writing simply poses no hurdles for the soprano as she hurls the high notes that made her famous. It is also note complete, so we get to hear whatever notes and texts we don't hear in the theatre. A brilliant performance, and perhaps one of Nilsson's greatest achievements in the studio. She is partnered by the Klytämnestra of Regina Resnik, who offers a grotesque interpretation that rightly contrasts well with Leonie Rysanek's erotic, theatrical assumption many years later. Resnik makes a caricature out of the role that may either satisfy the listener of displease him depending one whether one wants something more realistic or more extreme. Marie Collier, likewise, sings Chrysothemis with all the theatrical effects that would have been avoided by Leonie Rysanek many years earlier in the theater. I find that this great artist (who we lost when she was so tragically young) imbues her character with the right kind of psychological madness that all the more tips the already tipsy boat in the opera. Gerhard Stolze makes the already grotesque Aegisthus more grotesque than he already is. Tom Krause sings Orest with conviction, although one could wish for someone like Hans Hotter to sing the role in order to convey the nobility and grandeur of the character.

Solti leads the Vienna Philharmonic in the frenzy that this score truly typifies. I still wish that they had asked Karajan to do this opera in the studio since he was able to bring so much out of Strauss' score, but we at least have these gargantuan forces to contend with in the absence of a Karajan studio recording.

A truly mad and demented performance if there ever was one, but you should look at Gwyneth Jones' 1990 performance from Claves records to hear what a theatrical Elektra should sound like.
Richard Strauss: Elektra

This is the most recent release of Solti's famous recording of Elektra.......2007-06-19

This review will eventually be replaced by more informed, informative reviews. I just wanted to offer a placeholder to tell opera neophytes and curious listeners that this is the latest and surely greatest (sonically) incarnation of Solti's recording of this opera. Gramophone has called it, "undoubtedly one of the greatest performances ever on record."

Amazon is still selling the first CD release at a much higher price. This is the one to get. The same is true with Solti's equally estimable recording of Salome.

Happy Listening,
G.

Average customer rating: Visceral, fascinating, almost definitive Excellent, love it! Birgit Nilsson's Grand Elektra Shattering. Blood-curdling. Terrifying. You get the idea. High drama.

R. Strauss: Elektra Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Solti, Sir Georg | ( S ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Richard Strauss: Salome [Remastered] Tannhauser (Slipcase) Tchaikovsky - Eugen Onegin / T. Allen, Freni, von Otter, Shicoff, Burchuladze; Levine Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan ASIN: B0000041RM Release Date: 2002-09-10

Tracks:

1. Wo bleibt Elektra? - Helen Watts
2. Allein! Weh, ganz allein
3. Elektra! - Marie Collier
4. Ich kann nicht sitzen und ins Dunkel starren - Marie Collier
5. Es geht ein Larm los
6. Was wilst du? Seht doch, dort! - Regina Resnik
7. Die Gotter! bist doch selber eine Gottin
8. Ich will nichts horen! - Regina Resnik
9. Ich habe keine guten Nachte - Regina Resnik
10. Wenn das rechte Blutopfer
11. Was bluten mu
12. Was sagen sie ihr denn?

Tracks:

1. Orest! Orest ist tot! - Marie Collier
2. Platz da! Wer lungert so vor einer Tur? - Gerhard Unger
3. Nun mues hier von uns geschehm
4. Du! Du! denn du bist stark!
5. Nun denn, allein!
6. Was wilst du, fremder Mensch?
7. Elektra! Elektra! - Tom Krause
8. Orest!
9. Du wirst es tun? Allein?
10. Seid ihr von Sinnnen - Tugomir Franc
11. Ich habe ihm das Beil nicht geben konnen!
12. Es muetwas geschehen sein - Marie Collier
13. He! Lichter! Lichter! - Gerhard Stolze
14. Elektra! Schwester! - Marie Collier
15. Ob ich nich hore?
16. Horst du denn nicht, sie tragen ihn - Marie Collier
17. Schweig, und tanze

Amazon.com essential recording

If ever there was a dysfunctional family, it was the one in this opera, based on a Greek tragedy but deeply imbued with the ideas of Sigmund Freud. The mother Clytemnestra (mezzo-soprano Regina Resnik) and her lover Aegisthus (tenor Gerhard Stolze) have murdered the father, Agamemnon, on his triumphant return from the Trojan War. They have an excuse: Agamemnon gave his daughter Iphigenia for a human sacrifice. Another daughter, Elektra (soprano Birgit Nilsson), burns for revenge, but as a woman in a patriarchal society, she must use her brother Orestes (baritone Tom Krause) to execute her plan. Nilsson's portrayal is a high point of her career, and the whole brilliant production matches her performance. This is not easy listening, but it puts us in touch with dark realities dangerous to ignore, and the music (after you get used to it, which may take a while) has great power. --Joe McLellan

Customer Reviews:

Visceral, fascinating, almost definitive.......2006-11-24

Elektras are in such short supply today, as are several of the sopranos who sing the hochdramatisch vocal fach. However, during the 60's and the 70's, the world was blessed with a gamut of great dramatic sopranos like Astrid Varnay, Inge Borkh, Birgit Nilsson, and Ursula Schröder-Feinen, all of who were able to bring their gleaming artistry into this extremely difficult role where the character has to stay onstage during the whole performance after her monologue. Only Gwyneth Jones during the 80's and 90's was able to give the role a fresh interpretation which I find greater than any of the aforementioned sopranos, but this breed of hochdramatisch is pretty much extinct today. Conductors who can also manage this massive score are in short supply, and there are very few, if none at all, conductors who were able to bring the demonic drive the great Elektra conductors brought to their interpretation of this extremely revolutionary music.

Back in the 60's though, Sir Georg Solti conducted this benchmark Elektra with Birgit Nilsson in the title role. She had everything the role required for her voice. The top, the middle, and the bottom of the voice was radiant, and she was tireless in a role that would prompt several sopranos to write suicide notes. She perhaps had the ideal voice for Elektra. With her histrionics and her remarkable instrument, no Elektra except perhaps Astrid Varnay and Gwyneth Jones could ever match this magnificent artist. One could wish there was a bit more madness and dementia, but since there is no other voice that could hold to this great artist's performance, one could say that that is alright. As her mother Klytämnestra, Regina Resnik is perhaps one of the roles' most vivid interpreters. While she lacked the psychosexual emphasis that Leonie Rysanek brought to the role, it is a most vivid portrayal of a woman losing her reason. She is perhaps the most demented on disc.

Marie Collier's Chrysothemis is not the best, and that scream was absolutely ridiculous. I far prefer Anne Evans and Lisa Della Casa in the role. The rest of the male cast is excellent, with special mention going to Stolze's crazed Aegisthus. The best Orest though is perhaps Hans Hotter, despite Tom Kraus' magnificent achievement.

And Solti? Well, he brought a demonic drive to this reading that I wish would get more tender in the recognition scene, but all in all, a great account of an important work. Highly recommended!


A truly mad and demented performance if there ever was one, but you should look at Gwyneth Jones' 1990 performance from Claves records to hear what a theatrical Elektra should sound like.

Excellent, love it!.......2006-02-22

Elektra, is one of the most horrific, shocking, but most wonderful piece I have heard from the very begining of the 20th century. I love Strauss's HUGE orchestra, atonal, thick late romantic style of music. This is too well captured by Solti and the Wiener Philharmoniker. I am not too much of a voice fan, and I only know so much in German, so therefore I mostly listen to the orchestra, and all of its scary and beautiful accompiaments. The singers have captured their parts extremely well, but I just don't really like the singing. However, I absolutely LOVE Krause's role in the famous Orestes scene with Elektra, Collier's role of Chrysothemis while she sings about her life, and most of all, Resnik's role of Kytamnestra, when she sings of her nightmare, and of course her bone chilling laughing and when she cries out "Mehr lichter!" I am thankful to have this wonderful opera with my collection of cds.
The only reason why I gave this item 4 stars, was because of its sound. I did not like the quality when I listened to the sound sample, so I had visited another site to buy the new digital remastered version. BUY THE NEW VERSION. Borders, and Barnes and Nobles are now supplying it, it is much cleaner and the orchestra is much more audible. However, when I had bought it, it took about 3 weeks because it is made in Germany. I don't know if it has changed. Anyway, I love the Solti/Strauss/Elektra cd, but it is only to be fully appreciated if you buy the new digital remastered version that Amazon does not supply.

Birgit Nilsson's Grand Elektra.......2006-01-22

Birgit Nilsson died this past December 25th, 2005, and this recording of Strauss' Elektra is but one of the many recordings she left behind, recordings which attest to her unrivaled, grand and virtuosic operatic style. This recording under the baton of George Solti is critically acclaimed but features eerie special effects for dramatic effect, which now make for heavy going. For instance dramatic mezzo soprano Regina Resnik's performance of Klytemnestra, in particular, is amplified and distorted as though she were providing shrieks for a haunted-house ride. Still, Nilsson is appropriately manic, murderous yet capable of melting tenderness on those fleeting occasions when it was called for. Strauss was another repertoire she excelled in, as her Salome (also under Solti)proved. The music for this Elektra is rough, heavy and slow-paced, but builds up strength for climaxes. The neurosis of the characters are well-dramatized. Nilsson oozes madness and desire for vengeance. In no other recording will you find a superior performance, although I'm also fond of Eva Marton's Elektra. Now, if you happen to be a fan of Nilsson, this recording is sure to delight you, as she is still in great vocal shape.

Shattering. Blood-curdling. Terrifying. You get the idea........2004-12-15

"Elektra" is a nasty piece of work - agonized roiling in a dark pit of primal emotion, puncutated by shrieking eruptions of rage. And Solti - never the subtlest of maestros - milks the score for all its worth. You may feel the need for a shower by the time it's over.

But it's Nilsson who elevates this recording into immortality. In "Ring Resounding", John Culshaw - who recorded her Brunnhilde for Solti's landmark Wagner cycle - states that not even Flagstad in her prime could match her vocal power. A bold statement! But no one who listens to this opera will be inclined to doubt it. And her vocal acting here is marvelous as well.

High drama........2004-10-25

I have listened to `Salome,' `Die Frau Ohnne Schatten,' `Elektra' and `Arabella' and have found them increasingly bearable in that order. I apologise to fans of Strauss and I would not presume to slight the man's genius and artistry. The fact remains however, that (like me) there are others who are not fully aware of the style of his music. Having listened to his `Four Last Songs' (phenomenally sung by Jessye Norman), I have to say that his operas only occasionally display that sort of harmony...don't, therefore, go expecting the rapturously beautiful and tuneful strains of, say, `Beim Schlafangen' throughout any of the 1st 3 that I mentioned. Arabella comes closest with a few truly stunning soprano arias and duets, but even Arabella isn't what I'd call a `tuneful' opera, as a whole.

That being said, in my ever so humble opinion, Elektra's lure is more the drama and skill rather than conventional beauty. THIS Elektra, though, is very well-sung. While I do respect Birgit Nilsson's monumental talent, there are very few roles in which I enjoy listening to her. I admire her strength and endurance but conflictingly, hers is a talent I enjoy in smaller doses...which is why Strauss and (especially) Wagner make her too much for my taste. Here, however, Elektra's `grotesquerie' works perfectly well with Nilsson. The power is there when needed, as is the wild emotion and (at times) fragility....that notion of a large voice being precariously balanced on very delicate stilts (e.g., the discovery scene where she recognises Orestes; after her initial exclamation, she opines his name with heart-breaking fragility). At times, the music and singing is beautiful indeed (e.g., the encounter with the stranger, who she later discovers to be Orestes, where she laments her fallen state and that of her brother and father). More generally, however, I listen to this for the `rush' and `freak-appeal'...so this isn't a staple diet.

Marie Collier's role as Krysothemis is constantly interesting...all the more intriguing for its brevity. But her upper register is amazing and the tight vibrato adds to the wailing character required for Chrisothemis. Her opening of the second act must have achieved legendary status by now. Special effects aside, her howling and wailing sounds supernatural. Fascinating! Taut and desperate...a must.

It's rightly been said that Klytemnastra is every mezzo's dramatic dream...unless there is a moral objection to the role. Regina Resnik was born to sing this role! Chilling, menacing, horrific (not of voice but of character)....excellent! And her death-scream (more like a defiance of her own mortality) will give you nightmares. Here is one pinnacle of technique, sound technology and drama. Feel your skin prickle as she laments the product of her loins with "O Gotte." Then feel the ground fall from under you as the raw menace of "warum" reverberates through you!

Gerhard Stolze is at his best as a dramatic heldentenor...perhaps THE most dramatic! His Aegisthe is suitably arrogant, flamboyant and eccentric...and that's just his entrance! His very short role comes to a blood-curdling and gory end as he's murdered by Orestes. Whatever Orestes did to him sounds agonising and brutal in the extreme- Aegisthe dies sounding like a stuck pig.

Tom Krause's velvety, brooding and sonorous Orestes transforms wonderfully from the solemn stranger to the heroic heir-returned. He is among the CDs' more beautiful singers. The supporting cast give very involved and talented performances...even the suitably `stroppy' stable-boy.


Sir Solti's conducting is like a new, super-charged and well-oiled machine. A superb, urgent and dramatic reading...just as it should be.

So do expect a few long-winded passages and don't expect harmonious strains but the drama here is monumental. I say give it a try. I'm no lover of the `new trends' in music but this IS art!

Average customer rating: A gem

Violin & Piano Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD General | Bartók, Béla | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Stravinsky | Stravinsky, Igor | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Similar Items: Lalo / Chausson / Ravel: SYMPHONIE ESPAGNOLE / POEME / Tzigane Shostakovich: Violin Concerto No. 1; Prokofiev: Violin Concerto No. 2 Russian Album ASIN: B000056C5Z Release Date: 2001-02-20

Tracks:

1. Son in E flat, Op.18: Allegro, Ma Non Troppo
2. Son in E flat, Op.18: Improvisation: Andante Cantabile
3. Son in E flat, Op.18: Finale: Andante - Allegro
4. Divert: I. Sinf: Andante
5. Divert: II. Danses Suisses: Tempo Giusto
6. Divert: III. Scherzo: Allegretto Grazioso
7. Divert: IV. Pas De Deux: a. Adagio
8. Divert: IV. Pas De Deux: b. Var (Allegretto Grazioso)
9. Divert: IV. Pas De Deux: c. Coda (Presto)
10. Romanian Folkdances: I. Staff Dance
11. Romanian Folkdances: II. Sash Dance
12. Romanian Folkdances: III. Stamping Dance
13. Romanian Folkdances: IV. Dance From Bucium
14. Romanian Folkdances: V. Romanian Polka
15. Romanian Folkdances: VI. Romanian Folkdances: Quick Dance

Amazon.com

With this record, Vadim Repin proves again that he is one of the finest, most appealing young violinists before the public. His idiomatic flair and virtuosity are stunning, but they are always at the service of the music and so unobtrusive that one simply takes them for granted. It is his tone that is instantly striking and constantly compelling: intoxicatingly beautiful, it has a dark glow in the low register, a shimmering, celestial radiance on top, and he can vary its color and intensity in an instant with bow and vibrato, from sweet to austere, floating to powerful, robust to ecstatic, to fit mood, character and expression. The unanimous rapport between him and his splendid pianist, Boris Beresovsky, is clearly the result of a long partnership; their give-and-take is as natural as human speech. They must be about the same age as Strauss was when he wrote his Sonata; they respond to its romantic ardor and impetuous exuberance with just the right youthful, passionate abandon. The slow movement has a wonderfully wistful inwardness, as well as lightness and charm; the finale soars and glitters. The Stravinsky has lots of color, character, atmosphere, spice, and humor; the dances really dance, the melodies sing. Somehow, Tchaikovsky's and Stravinsky's styles manage to complement rather than interfere with each other. If the Bartók Dances are a little overdone, it serves to bring out their native folk flavor. --Edith Eisler

Customer Reviews:

A gem.......2003-07-12

The best thing on this wonderful recording is the Bartok. Vadim Repin's art transmutes these small pieces into pure gold.

Average customer rating: The whole career of one of the greatest singers of all time Birgit Sings Like Sweetness A Document In The Grand Career Of Birgit Nilsson (1918-2005) Great

Birgit Nilsson Sings Richard Wagner & Richard Strauss Manufacturer: Gala ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Nilsson, Birgit | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Strauss, Richard | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music Similar Items: Birgit Nilsson: Opera Arias Nilsson Sings Verdi Or sai chi l'onore: Opernarien von Mozart, Weber, Wagner, Strauss Wagner: Opera Arias & Duets Prima Voce: Flagstad ASIN: B000001XNS Release Date: 2000-06-06

Tracks:

1. Ariadne auf Naxos: Es Ist alles vergebens - Es gibt ein Reich
2. Salome: Es ist kein Laut zu vernehmen
3. Salome: Ah! du wolltest mich nicht deinen Mund kussen lassen, Jochanaan
4. Salome: Sie ist ein Ungeheuer, deine Tochter
5. Salome: Ah! Ich habe deinen Mund gekusst, Jochanaan
6. Elektra: Was willst du, Fremder Mensch?
7. Die Fau Ohne Schatten: Es dunkelt, dass ich nicht sehe zur Arbeit
8. Die Fau Ohne Schatten: Es gibt derer, Die bleiben immer gelassen Abtu ich von meinem Leibe die Kinder
9. Die Fau Ohne Schatten: Die Weib ist irre - Barak, ich hab es nicht getan
10. Tannhauser: Dich, teure Halle
11. Lohengrin: Euch Luften, die mein Klagen
12. Lohengrin: Elsa!-Wer Ruft?
13. Lohengrin: Ortrud, wo bist du?

Tracks:

1. Tristan und Isolde: Horst du sie noch?
2. Tristan und Isolde: Mild und leise wie er lachelt
3. Die Walkure: Schlafst du, Gast?
4. Die Walkure: Wintersturme wichen dem Wonnemond
5. Die Walkure: De bist der Lenz
6. Die Walkure: O susseste Wonne! Seligstes Weib!
7. Die Walkure: Siegmund heiss ich und Siegmund bin ich!
8. Siegfried: Ewig war ich, ewig bin ich
9. Gotterdammerung: Schweigt eures Jammers jauchzenden Schwall
10. Gotterdammerung: Starke Scheite, Schichtet mir dort

Customer Reviews:

The whole career of one of the greatest singers of all time.......2007-01-14

I could nor beleive my eyes when I saw the price of this recording. It covers the whole career of the greatest Wagner and Strauss singer in the last half of the 20th Century. I think the whole performance of Ariadne of Naxos allurs in the archives of the Swedish Broadcasting company - a release, please!
When the news arrived that La Nilsson hade died in her home, surrounded by family members and near friends, on Christmas Day 2005 (kidneys not functioning, and no more dialysis possible) - we at once underrstand her uniquiness - there was nobody there to take over the helm and shield....It is quite wonderful that this eextensive compilation was published just recently. It is a very worthy portrait of a blessed singer!

Birgit Sings Like Sweetness.......2007-01-08

This is the first time I had heard Birgit Nilsson sing. The CD was great. However, I did have to blast the music because it is the original recording on the CD. Besides the quality it is worth purchasing if you want to hear one of the best. Her voice is clear and sweet, and welcoming to the ears.

A Document In The Grand Career Of Birgit Nilsson (1918-2005).......2006-03-23

The great soprano from Sweden, Birgit Nilsson, once contemplated suicide when she met with dismal reviews in her first perfomrance as Agathe from Weber's Die Freitschutz, for she was inexperienced and fresh out of the farm she grew up in. She went on to become the greatest dramatic soprano of all time, and for me, she is an even more thrilling and masterful soprano than the overrated Maria Callas. Birgit Nilsson died of unknown causes in her hometown of Sweden on Christmas of '05 only months ago. Her huge, steely, bright, metallic voice was reportedly capable of breaking glass and stone. This album covers many years in her career. Her Ariadne is not well known and it's captured in a young voice (50's) and she is in phenomenal shape. The dramatic heft of the role is suited to her voice. Wagner was her specialty of course and here we have slices of her Elisabeth from Tannhauser. She also sang Venus. Isolde was another great role of hers (the one she debuted at the Met) and Brunhilde is of course her best role. Singing Strauss is no piece of cake but when we listen to her Salome and Elektra and Dryer's Wife from Die Frau we are hearing a woman who, despite age, is singing with strength and vigor. She gets into character each time and she sings beautifully. All fans of La Nilsson must get this one.

Great.......2003-08-20

This is a very good CD for people who follow Birgit Nilsson's development. It contains live performances from 1949 (Ariadne auf Naxos - Nilsson sang Ariadne!!) to 1977 (Dyer's Wife in Die Frau Ohne Schatten). You can see her development from young to old over close to 30 years. For someone like me who have many of Birgit Nilsson's commercial recordings, this is a great CD too because it allows me to compare her 'live' performances with the studio recordings. It also enables me to see how her voice developed over the years. For instance, her voice grew in warm as she progressed in her career. By 1977, her voice had lost some ease - you can tell that she has to sing with more effort but her top register is still amazing, the gleam is still there even if it is more effortful to produce (when I say effortful I mean by young Birgit Nilsson standards - if you compare with other singers, she still sings effortlessly). Imagine - by 1977, she was 59 and she still puts singers singers half her age at 30 to shame. A very interesting CD in very mono sound. 5 stars for Nilsson's superb performances (her vocalism never fails to amaze me), for a fantastic variety of excerpts, for very mono sound, for the historical importance of this CD and for the incredible bargain price ... for 2 CDs.

If you are a 'historical' freak, buy this. If you are a Birgit Nilsson freak, buy this. If you are an opera freak, buy this. Even if you are not a freak, buy this!!

Average customer rating: Great Works by Great Artists - Under the Decca/London Label !!!! Sutherland awesome Sparkling

Ten Top Sopranos Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Catalani, Alfredo | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Mozart, Wolfgang Amadeus | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Ponchielli, Amilcare | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Strauss, Richard | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Battle, Kathleen | Divas | Opera & Vocal | Styles | Music Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music Crespin, Regine | Divas | Opera & Vocal | Styles | Music Freni, Mirella | Divas | Opera & Vocal | Styles | Music Nilsson, Birgit | Divas | Opera & Vocal | Styles | Music Norman, Jessye | Divas | Opera & Vocal | Styles | Music Price, Leontyne | Divas | Opera & Vocal | Styles | Music Sutherland, Joan | Divas | Opera & Vocal | Styles | Music Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music The Decca Records Store | Specialty Stores | Music Similar Items: The Ultimate Divas Album Mad About Sopranos Jewel Song ~ 20 Great Soprano Arias / Crespin, Freni, Te Kanawa, Sutherland, Jo, Tebaldi, Cotrubas, Caballé, Cerquetti... The #1 Soprano Album The Very Best Of Maria Callas ASIN: B00000420T Release Date: 1993-03-16

Tracks:

1. La Boheme: Si, mi chiamano Mim TEN TOP SOPRANOS
2. Le nozze di Figaro: E Susanna non vien ... Dove sono - Kiri Te Kanawa
3. Undallo in maschera: Saper vorreste - Kathleen Battle
4. Lohengrin: Einsam in tragen - Jessye Norman
5. Elektra: Allein! Weh, ganz allein - TEN TOP SOPRANOS
6. Madama Butterfly: Un bel di - TEN TOP SOPRANOS
7. Aida: Ritorna vincitor! - Leontyne Price
8. La Wally: Ebben? ... Ne andrntana - Renata Tebaldi
9. La Gioconda: Suicidio! - Montserrat Caballe
10. Lucia di Lammermoor: Il dolce suono mi colpi di sua voce!... Ardon gl'incensi - Joan Sutherland

Customer Reviews:

Great Works by Great Artists - Under the Decca/London Label.......2006-02-11

Clearly, Maria Callas is one of the most important artists in history and has a well deserved place on any top 10 list. However, all the sopranos here are artists who performed on the decca recording label. Callas did not, hence her exclusion. Also excluded is Sills but I digress...
I love this CD, it's filled with many little gems showing off the best moments in the many different variations of the soprano voice.
Freni = Lyrico Spinto
Battle = Soubrette
Sutherland = Coloratura
Nilsson = Dramatic
Te Kanawa = Lyric (Her Dove sono is positively sublime!!)
Etc.

A wonderful CD which may introduce you to something you've never heard before.

!!!!.......2004-04-05

The fact that anyone could say that Mirella Freni should not be considered one of the 10 greats is astounding. She's Karajan's favorite and mine too. She is one of history's greatest artists and her performance here is incredible. Other than Freni, we have a feast of opera greats that sing their hearts out. I love it. Freni, Divina.

Sutherland awesome.......2003-06-04

I agree with the "top 10"(!) reviewer that Sutherland's performance here is spectacular. It is the highlight of this great cd. But Callas should be included here also.

Sparkling.......2002-09-01

Wow! Such a talented array of Sopranos I had yet to come across until this disk. It truly brings out the most glittering moments of each sopranos career...

I would recommed this CD to just about anyone! For those new to the opera world...this is probably the absolute best place to start. For those more seasoned, you will find this is one of the most valuable investments you have made. Enjoy~

Average customer rating: an Above-Average Performance of Strauss' Dangerously Hypnotic Score

Richard Strauss: Elektra [Hybrid SACD] Manufacturer: Profil - G Haenssler ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Puccini: Tosca [Hybrid SACD] Richard Strauss: Don Juan; Macbeth; Lieder Monteverdi: Vespers [Hybrid SACD] Peteris Vasks: Symphony No. 3; Cello Concerto [Hybrid SACD] Elgar: Violin Concerto; Vaughan Williams: The Lark Ascending [Hybrid SACD] ASIN: B000BM3MO8 Release Date: 2006-01-17

Tracks:

1. Wo Bleibt Elektra?
2. Ich Will Vor Ihr Mich Niederwerfen
3. Allein
4. Agamemnon
5. Elektra!
6. Ich Hab's Wie Feuer In Der Brust
7. Immer Sitzen Wir Auf Der Stange
8. Was Heulst Du
9. Orchesterzwischenspiel
10. Was Willst Du? Seht Doch, Dort!
11. Ich Will Hinunter
12. Ich Habe Keine Guten Nachte
13. Ein Jeder
14. Lasst Du Den Bruder Nicht Nach Hause?
15. Was Bluten Muss
16. Lichter
17. Orest Ist Tot
18. Platz Da!
19. Nun Muss Es Hier Von Uns Geschehen
20. Wie Stark Du Bist
21. Von Jetzt An Will Ich Deine Schwester Sein

Tracks:

1. Nun Denn Allein!
2. Was Willst Du, Fremder Mensch?
3. Wer Bist Denn Du?
4. Orest!
5. O Lass Deine Augen Mich Sehn
6. Nein, Du Sollst Mich Nicht Umarmen!
7. Verstehst Du's, Bruder?
8. Seid Ihr Von Sinnen
9. Ich Habe Ihm Das Beil Nicht Geben Konnen!
10. Es Muss Etwas Geschehen Sein
11. He, Lichter
12. Elektra, Schwester!
13. Ob Ich Nicht Hore?
14. Tanz
15. Elektra! Schweig Und Tanze!

Customer Reviews:

an Above-Average Performance of Strauss' Dangerously Hypnotic Score.......2006-02-02

First, it seems that this is being marketed as a 'live' recording drawn from concert performances. The limited technical information provided in the booklet which accompanies the set rather evasively notes the time and place of recording as merely '2004, Philharmonie Köln.' The comments from Maestro Bychkov reproduced in the booklet imply studio conditions, however. Whatever the circumstances of the recording of this set, I find the balance excellent and the overall sound to be of demonstration quality. There are occasional moments in which the soloists, all of them, are temporarily lost within the fabric of the sound, but that is not uncommon in recordings (to say nothing of staged performances) of this score. In short, I hope that no audiophiles such as myself will be put off from acquiring or listening to this set owing to the questionable provenance of the recording sessions.

The WDR Rundfunkchor and Sinfonieorchester Köln are on splendid form, playing and singing better than on Bychkov's recording of DAPHNE for Decca. Their performances on that set, tailored to the abilities and disabilities of its leading lady, are conscientious and quite capable without challenging the conventional wisdom that for musically superior playing of Strauss one must look to Dresden or Vienna (though, in my oft-expressed opinion, the Vienna forces have been in decline during the past decade). In ELEKTRA, however, Bychkov's Köln forces are altogether in their element, so to speak, and provide playing and singing worthy of comparison with the greatest of their rivals past and present. The great climaxes are explosive and hair-raising without being garish, and the final scene is both pulse-quickening and cathartic without descending to pageantry. It is an impressive achievement, and praise is due to Hänssler for capturing it so faithfully.

Personally, I have found Bychkov's operatic work inconsistent. His celebrated YEVGENY ONEGIN recording is, to me, far more valuable for its wonderful singing (Foccile, Hvorostovsky, and Shicoff) than for its conducting, which in my opinion lacks shape and propulsion. The aforementioned DAPHNE suffers from a seeming failure to see the score as an immense, scintillating paragraph rather than as beautiful but disjointed phrases (a comment which I make being mindful of having recently listened to Böhm's 1964 Wiener Festwochen recording with Güden, King, Wunderlich, et. al.), but in fairness one must concede that Decca's DAPHNE was in both inception and execution inherently a 'diva record' and that Bychkov's work was secondary. There is much is his conducting of this ELEKTRA that I like, though. This is very much 'Bayreuth bel canto,' owing perhaps as much to the specific abilities of the cast at hand as to Bychkov's personal interpretation, with the vocal lines shaped in a manner which invites verbally-inflected, accurate singing. Bychkov manages to convey every emotional peak and valley of the work, however, and I find his subtle approach both refreshing and completely effective.

Of Deborah Polaski it must be said that the voice, as recorded at least, is no longer an especially ingratiating instrument, but it is secure and equal to the role. Certainly, this Elektra lacks the power of Nilsson or Borkh, but Polaski compensates with very careful attention to note values and the dynamic indications in the score. There are not many efforts at coloring the voice, but the vital emotions are all there: rage, insurmountable anxiety, utter loss, vulnerability, dissociation, alienation, and ultimately exuberance. There is not a great deal of power or easy resonance in the extreme upper register, but at least in passages such as the great opening monologue ('Allein! Weh ganz allein.') one does not fear that the notes will not be there. In the end, I find Polaski's performance a considerable success and a worthy addition to a sparse discography stretching back to her wonderful Dolly in Wolf-Ferrari's SLY from Hannover.

I recalled when listening to this performance the frequent criticism of Felicity Palmer during her tenure with Harnoncourt's early 'period practice' experiments owing to her whitened tone. Such criticism seems altogether confounding when one hears this Klytämnestra. Palmer's voice is unquestionably smaller than what one associates with the role, but she brings the performance off smashingly. As she reminded audiences with her smoldering Countess in the MET's PIKOVAYA DAMA a couple of seasons ago (quite the most vocally impressive performance of the production despite the presence of Domingo and Dalayman), hers remains a very potent voice, and she provides a Klytämnestra of epoch proportions, all the more menacing for having a smaller sound. It is a memorable performance that, like the sound in which it is preserved, is on an order to be played as a guide to the written letter of the part, both vocally and dramatically.

Considering her past engagements and one production with the Royal Opera in particular, Anne Schwanewilms' Chrysothemis likely cannot avoid comparisons with Deborah Voigt's famous interpretation as given at the MET (one of her first great triumphs, both in the house and on a telecast) and recorded for Sinopoli and Deutsche Grammophon. Schwanewilms' is a leaner sound (pun intended, but apt), less obviously bulky in tone but equally sizable and refulgent on top. Having the advantage of native German, she does not miss even the slightest of verbal felicities. She occasionally disappears -- more so than either Polaski or Palmer -- into the cacophony, but she retains a firm line throughout and sings with very dignified passion rather than the sort of hormonally overwrought desperation that often passes for stylish interpretation of Chrysothemis' situation (she is keen to get on with things as far as her love-life is concerned, but I hardly think that she is writhing in sexual frustration). Schwanewilm's voice as recorded has a brilliant cutting edge and she displays an innate intelligence as a performer that cause me to liken her to the young Silja, though more secure and far more beautiful in tone.

Neither of the principal male singers is up to much vocally. Graham Clark's Aegisth is pale but, after all these years at Bayreuth and anywhere else that gives DER RING, he sounds to the manner born. Franz Grundheber is miscast as Orest. He proved himself capable of fine singing even at this late stage with his Jupiter on cpo's LIEBE DER DANAE from Kiel, but he no longer commands the firmness of both line and utterance required for Orest. Nonetheless, it is not an altogether embarrassing or disfiguring performance, and in the end it does not impede enjoyment of the dénouement. Smaller roles are uniformly entrusted to very capable throats, the five maids especially having lovely voices.

In summary, this ELEKTRA is neither so blatantly powerful as Solti's Decca performance or so wholly right in shape and structure as Böhm's DGG recording, but I find very much to enjoy and think it a great achievement, significantly better than I had expected from a latter-day ELEKTRA.

Average customer rating: terrific opera and amazing performance One of the best Elektras around The Elektra You Should Own excellent performances Frenzy!

Strauss: Elektra Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: R. Strauss: Die Frau ohne Schatten Capriccio Die Schweigsame Frau Strauss - Daphne / Güden · Wunderlich · King · Little · Schöffler · Böhm Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan ASIN: B000001GMQ Release Date: 1994-07-01

Tracks:

1. Elektra: Wo bleibt Elektra? - Cvetka Ahlin/Margarette Sjostedt/Sieglinde Wagner/Judith Hellwig/Gerda Scheyrer/Ilona Steingruber
2. Elektra: Allein! Weh, ganz allein. - Inge Borkh
3. Elektra: Elektra!/Ah, das Gesicht! - Marianne Schech/Inge Borkh
4. Elektra: Ich kann nicht sitzen und ins Dunkel starren - Marianne Schech/Inge Borkh
5. Elektra: Es geht ein Larm los. - Inge Borkh/Marianne Schech
6. Elektra: Was willst du? Seht doch, dort! - Jean Madeira/Inge Borkh/Renate Reinecke/Hermi Ambros
7. Elektra: Ich will nichts horen! - Jean Madeira
8. Elektra: Ich habe keine guten Nachte. - Jean Madeira/Inge Borkh
9. Elektra: Wenn das rechte Blutopfer unterm Beile fallt - Inge Borkh/Jean Madeira
10. Elektra: Was bluten mu Dein eigenes Genick - Inge Borkh/Jean Madeira

Tracks:

1. Elektra: Orest! Orest ist tot! - Marianne Schech/Inge Borkh
2. Elektra: Platz da! Wer lungert so vor einer Tur? - Gerhard Unger/Siegfried Vogel
3. Elektra: Nun mues hier von uns geschehn - Inge Borkh/Marianne Schech
4. Elektra: Wie stark du bist! - Inge Borkh/Marianne Schech
5. Elektra: Nun denn, allein! - Inge Borkh
6. Elektra: Was willst du, fremder Mensch? - Inge Borkh/Dietrich Fischer-Dieskau
7. Elektra: Wer bist denn du? - Dietrich Fischer-Dieskau/Inge Borkh
8. Elektra: Orest! Orest! Es ruhrt sich niemand! - Dietrich Fischer-Dieskau/Inge Borkh
9. Elektra: Du wirst es tun? Allein? Du armes Kind? - Dietrich Fischer-Dieskau/Inge Borkh
10. Elektra: Seid ihr von Sinnen - Fred Teschler
11. Elektra: Ich habe ihm das Beil nicht geben konnen! - Inge Borkh/Jean Madeira/Marianne Schech/Cvetka Ahlin/Margarete Sjostedt/Sieglinde Wagner/Judith...
12. Elektra: He! Lichter! Lichter! - Fritz Uhl/Inge Borkh
13. Elektra: Helft! Morder! - Fritz Uhl/Inge Borkh
14. Elektra: Elektra! Schwester! - Marianne Schech/Chor der Staatsoper Dresden
15. Elektra: Ob ich nicht hore? - Inge Borkh/Marianne Schech
16. Elektra: Electra's Dance - Staatskapelle Dresden/Bohm
17. Elektra: Elaktra!/Schweig, und tanze. - Inge Borkh/Marianne Schech

Customer Reviews:

terrific opera and amazing performance.......2004-08-14

This is one of the best Elektra recording. Karl Bohm, who very close friend of Strauss, is one of the best performer of the composer. And Staatskapelle Dresden is the Strauss' most admired orchestra. Inge Borkh, is may be the best Strauss soprano, also she is amazing in Salome, too and she recorded with Fritz Reiner. Dietrich Fischer Dieskau is already excellent baritone and he sung Orest role, with emotion. In other words: This is a dream cast recording!

I think, Elektra is the most horrific (more than Salome, with it's music, orchestration, colours) opera of Richard Strauss. It is written in very border of tonality. Strauss called very large orchestra, includes bass oboe, 5 clarinet, basset-horns, 8 horns, 6 trumptes, conrabass-trombone (!), 5 tubas, large percussion, almostly 70-80 strings...!

Also, this is the first complete recording of Elektra. I suppose, Karl Bohm is more succesful performed, than Sir Georg Solti, who is another famous Strauss conductor. I think, Solti is ill-tempered and his orchestra not play plump, powerful or effective. However, Karl Bohm (I always more admire him) and his orchestra performed with these special features and they are more perfect.

This set has full libretto and Karl Bohm's a review on this opera. Highly recommended.

One of the best Elektras around.......2003-10-02

This is one of the best Elektras around. I think that it is better than the ones under Barenboim and Sawallisch. But Nilsson in the Solti version is more steady and secure than Inge Borkh. Also, Astrid Varnay sings more securely than Borkh. Nonetheless, Inge Borkh characterizes very well and her interpretation is excellent. She really does get into her character. This would work well as a sole representation or a first recommendation. But seriously, I wouldn't want to be without the Nilsson (Decca) or Varnay (available on Gala and Koch Schwann).

The Elektra You Should Own.......2002-12-23

While it is often touted that Solti's (or should I say Nilsson's?) recording of Elektra is the one you should buy first. As much as I love that performance, and think it is probably the best introduction to this work along side this recording, this is really the better performance. The only (slight) reservation which I could have is the fact the the Staatskapelle Dresden, who play absolutely magnificently and right in the idiom of the music, could have been recorded with some more detail. Not that anything is obscured, but the Solti recording (because of the recording, not the interpretation) lets you hear just a few things with more clarity. There is also very occasional and very slight distortion on the voice when they hit the high notes (maybe twice in the whole recording, and for about 1/4 of a second). But the performance is magnicent. Bohm is in his element, and the Staatskapelle Dresden, as I hinted before, give him their all, which is quite a lot. Inge Borkh was the best interpreter of the role, even more so than Nilsson. She was as steady as Nilsson (except for her high C, but still, that is not bad), and she brought a more detailed character to Elektra, better conveying her fractured mental state and different moods. Jean Madeira delivers everything as Klytamnestra. Her voice is totally secure for the whole time she is on stage, and her voice is sumptuous. She avoids the histrionics that ruin some performances of the role, but still manages to convey the Klytamnestra's mania and twisted sickness. Marianne Schech as Chrysothemis is excellent, her tone suffieciently different from Borkh's so that you can tell them apart. Dietrich Fischer-Dieskau as Orest is wonderful, warm and serious at the same time. He has no trouble with the notes, and manages to sound just perfect for the role, as if it was written for him. Lastly, Fritz Uhl is a pefectly suspicious, conniving, depraved Aegisth. All of the supporting roles are filled well, with the luxury casting of Gerhard Unger (the best character opera singer that ever lived) as the junger Diener. If you at first don't love the opera, that's ok. When I first heard it I hated it. But, after a few hearings, it is now one of my favorites. Buy it, play it, love it, and spread the joy of this opera and recording on to some of your friends.

excellent performances.......2002-07-07

This is the premiere commercial recording of the complete opera (also in stereo) and still one of the best. All the principal roles appear to be sung with both accuracy and emotional commitment (both Borkh and Madeira were at the time among the premiere exponents of the roles of Elektra and Klytamnestra, respectively). Bohm's conducting of the Dresdan Staatskapelle both clarifies the complex orchestral textures and keeps the drama moving relentlessly forward. The only criticism I would make is that the orchestral playing does not quite have the locked in precision and fineness of detail one finds in the excerpts Fritz Reiner recorded on RCA living stereo (although, as to the latter, one should bear in mind that Reiner was working with the production and engineering team of Mohr, Pfeiffer and Layton, one of the best of the 50s and 60's, and moreover, for what it is worth, Borkh has expressed displeasure with the way this DG recording was miked). Moreover, Reiner is especially effective in the way he steadily builds up to and shapes the big orchestral climaxes. Neverthless, this is a superior performance by highly accomplished musicians and Straussians.

Frenzy!.......2001-10-19

I got this set for Christmas a few years back. I had the pleasure to see Elektra performed on stage at the Gothenburg Opera House and it fascinated me to an enormous degree. The performance and the cast in Gothenburg was absolutely superb (the lead role played by Irma Mellegaard, from Denmark), and the setting and roles somewhat changed from Strauss' original Antique theme. A number of small roles where omitted and submerged into others and the historical setting was warped forward to an unindentifiable future in some depraved dictatorship. The stage depicted a large, monumental building, worn and desolate - and Klytemnestras animal-sacrifices were human. Absolutely superb. Well, now back to the recording. Inge Borkh has recorded quite a few Elektras, which I have not heard except for this one. I feel that she gets behind the role and understands it as no one else. The dramatical tension here is bordering to terror and her singing is giving it all, putting all her effort in Elektras fanatical drive for vengeance. Jean Madeira sings a superb Klytemnestra; this sick, pale, terrified woman, doomed to a gruesome death, revolts us all with her person and Madeira does just this. It is the women who are the actors, the principal caracters. Orest (sung by Dietrich Fischer-Dieskau) is merely the instrument with which Elektra fulfills her wishes of vengeance. However, the duet between Orest and Elektra toward the end of the Opera is truly beautiful and reveals something deeper with Elektra. Böhm's conducting is intense and powerful and you will be grasping for air when the last tones die out!! A truly Freudian operatic achievement and performance.

Average customer rating: Another Strauss winner

Strauss: Elektra Manufacturer: BBC Legends ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Similar Items: Verdi: Don Carlo ASIN: B000I8OIXO Release Date: 2007-01-30

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. Lasst Du Den Bruder Nicht Nach Hause, Mutter?
10. Was Bluten Muss?
11. Orest! Orest Ist Tot!

Tracks:

1. Platz Da!
2. Nun Muss Es Hier Von Uns Geschehn
3. Wie Stark Du Bist!
4. Von Jetz 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. Di Wirst Es Tun? Allein?
10. Seid Ihr Von Sinnen
11. Ich Hab' Ihm Das Beil Nicht Geben Konnen!
12. Es Muss Etwas Geschehen 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
19. Lord Harewood In Conversation With Roger Beardsley

Customer Reviews:

Another Strauss winner.......2007-07-15

I am very pleased with my purchase. I am on a roll collecting the best Electras.

Average customer rating: Return to Valhalla OhValhalla Goddess Birgit Nilsson Now Sings In Heaven Ave Atque Vale, Birgit Nilsson RIP BIRGIT NILSSON - 5/17/1918 - 12/25/2005

Ritorna vincitor! - The Legendary Birgit Nilsson (2 CDs) Manufacturer: Decca ProductGroup: Music Binding: Audio CD Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Nilsson, Birgit | ( N ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Wagner: Opera Arias & Duets Birgit Nilsson Nilsson Sings Verdi ASIN: B00008MLU4 Release Date: 2003-05-13

Tracks:

1. Ritorna Vincitor! - John Pritchard
2. O Don Fatale - Aregeo Quadri
3. Pace, Pace, Mio Dio! - Argeo Quadri
4. Nel Di Della Vittoria Io Le Incontrai... Ambizioso Spirto... Vieni T'affretta! - VIRGILIO CARBONARI
5. Vissi D'arte - Lorin Maazel
6. Einsam In Truben Tagen - Edward Downes
7. Starke Scheite Schichtet Mir Dort - Sir Georg Solti
8. Allein! Weh, Ganz Allein - Sir Georg Solti
9. Ein Handwerk Verstehst Du Sicher Nicht - Walter Berry
10. Ah! Du Wolltest Mich Nicht Deinen Mund Kussen Lassen, Jokanaan!... Sie Ist Ein Ungeheuer, Deine Tochter... Ah! Ich Habe Deinen Mund Gekusst - Gerhard Stolze

Tracks:

1. Dich, Teure Halle - Edward Downes
2. Mild Und Leise Wie Er Lachelt - Hans Knappertsbusch
3. I Der Engel - 'In Der Kindheit Fruhen Tagen' - Sir Colin Davis
4. II Stehe Still! - 'Sausendes, Brausendes Rad Der Zeit' - Sir Colin Davis
5. III Im Treibhaus - 'Hochgewolbte Blatterkronen' - Sir Colin Davis
6. IV Schmerzen - 'Sonne, Weinsest Jeden Abend Dir Die Schonen Augen Rot' - Sir Colin Davis
7. V Traume - 'Sag', Welch Wunderbare Traume' - Sir Colin Davis
8. Var Det En Drom? (Was It A Dream?) - Bertil Bokstedt
9. Flickan Kom Ifran Sin Alsklings Mote (The Tryst) - Bertil Bokstedt
10. Svarta Rosor (Black Roses) - Bertil Bokstedt
11. Sav, Sav, Susa (Sigh, Rushes, Sigh) - Bertil Bokstedt
12. Diamanten Pa Marssnon (The Diamond On The March Snow) - Bertil Bokstedt
13. Hostkvall (Autumn Evening) - Bertil Bokstedt
14. Varen Flyktar Hastigt (Spring Flies Fast) - Bertil Bokstedt
15. En Svane (A Swan) - Bertil Bokstedt
16. Fra Monte Pincio - Bertil Bokstedt
17. Varen (Spring) - Bertil Bokstedt
18. Melodi (Melody) - Bertil Bokstedt
19. Bon Till Natten (Prayer To Night) - Bertil Bokstedt
20. Skoldmon (Valkyrie) - Bertil Bokstedt
21. En Gammal Dansrytm (An Old Dance Rhythm) - Bertil Bokstedt
22. I Could Have Danced All Night - Herbert Von Karajan

Customer Reviews:

Return to Valhalla OhValhalla Goddess.......2006-03-11

Birgit Nilsson was without a doubt the most powerful soprano of the 20th century, even a greater singer than Maria Callas, despite the fact that audiences loved Callas a lot more. Since her death on December 25th, 2005, I've listened to many of her recordings (and there are plenty, she was well-documented on recording). Nilsson was a versatile singer, and not just a Wagnerian specialist. This recording album of various arias represent her versatility and flexibility and even with all these arias of diverse repertoire, it's still not enough to capture her vast prowess. Not featured on here are her accounts of the Baker's Wife in Strauss' Die Frau Ohne Schatten and Minnie in Puccini's La Fanciulla Del West, or Agathe from Weber's Die Freischutz, not to mention her interpretation of Beethoven's heroine Leonore in Fidelio and Venus from Tannhauser. She was known for her ability to sing both Elisabeth (soprano) and Venus (mezzo-soprano) in Tannhauser!!

What we have here are wonderful accounts of arias from diverse operas. Let's analyze some of them, in hopes you can get hooked on Nilsson and check out her full-length opera recordings.

Wagner: Ring Des Nibelungen: Every opera connoisseur knows that Birgit Nilsson was the heir to Kirsten Flagstad's throne when it came to singing Brunhilde. Possessing a superhuman and radiant voice, she found a bit of her Swedish self in the mythic character of the Valkyrie Brunhilde. To me, there is no greater Brunhilde. She had a heroic voice so that the Immolation Scene in Gotterdammerung (featured here) is by far the best account. She appears in the Karl Bohm recordings of the Ring and the studio engineered Ring under the baton of George Solti. TRISTAN UND ISOLDE: Her debut role at the Metropolitan Opera was as Isolde. She masters the role, which is possibly the most difficult in Wagner opera, and essays the high tessitura with great aplomb. Not featured here is the great Curse Aria. The Liebestod was a piece of cake for Isolde, and it is featured here. She sings this well, no doubt, but her only fault is that she could never quiet her voice the way some sopranos could. If anyone had trouble hearing Nilssons' mega voice, something was wrong with their hearing! TANNHAUSER: She was able to sing Elisabeth and Venus, and she got into the character's romantic nature. The Hall Aria is on here and it's great.

STRAUSS: As excting as her Wagner heroines were, her Strauss heroines were just as impressive. She understood the intensity of the music and delved into the character's psyches, even more so than the Wagner roles. As such, her SALOME is largely regarded as the best on record. While she could not physically convince us as a teenage nubile princess who inflammes the passions of her pagan father, she was able to sing the role with electrifying power and frightening madness. If you listen to the Solti recording, you will note how she could get into Salome's twisted mentality starting from the scene in which she asks for Jochanaan's head and the finale in which she kisses the severed head. This final scene is on here, thank God. Her interpretation of ELEKTRA set the bar high for all subsequent sopranos. She once again got into the character's depravity and lunacy. The intensity of the role never took its toll on her and she tirelessly sings the part in a combo of dramatic power and beautiful singing. Please check out her Elektra recording under Solti again, where she is paired with Regina Resnik.

PUCCINI: Yes, Birgit Nilsson sang Puccini and she did a damn good job of it too. Very few critics gave her credit for her superb Puccini heroines. At the Met in the 60's, audiences saw her stage performances of Tosca, Turandot and Minnie from La Fanciulla Del West. Her TOSCA is powerful, unsubtle but dramatically compelling. In the Lorin Maazel recoding opposite Franco Corelli, she was able to make her voice sound more round, warmer and more "Italian". Here we have her "Vissi D'Arte" but she could really deliver in such moments as the Death of Scarpia, the Torture/Interrogation Scene and the Finale. In fact her cry "O Scarpia Avanti Addio!" is possibly the best on record. She sang TURANDOT at the Met opposite Franco Corelli in riveting performances, rivaling any other soprano who sang Turandot at the time. The size of her voice, her regal presence (fashion designer Cecil Beaton made a Chinese Empress costume, complete with a decorative crown, especially for her) and her command of the music made for a stunning Turandot. Check out the EMI recording with Corelli and Scotto.

Verdi: She sang Verdi, though it was not a repertoire she followed up on extensively. Audiences saw her as Lady Macbeth, Princess Eboli, Elisabeth Di Valois (from Don Carlos) and Leonora from Forza del Destino. And of course as AIDA. Her Aida is not the most beautifully sung or the warmest, but in sheer volume and grandness she takes the crown. There is a studio recording she sang opposite Franco Corelli and Grace Bumbry. At the Met, audiences saw her paired with Jon Vickers' Radames. Ritorna Vincitor! Aida's first great aria in Act 1 is on here and it's the title of the album. Her LADY MACBETH is by far her greatest Verdi role. The cold, icy, unfeeling way she sings the part makes her Lady Macbeth by far the most wicked and dramatically convincing. Even without the Italian fire in the belly, she could get into character as good as the rest of them.

SWEDISH SONGS, BROADWAY AND MOZART: Her account of her native Swedish folk songs are lovely, and in her time, legendary, and even in her heyday as an opera singer she would sing Swedish songs on Swedish radio. As a girl growing up in her father's farm, she sung these folk songs which eventually drew the attention of Conservatory instructors and operatic voice coaches. Broadway ? I'm sorry. This is cute and experimental of her to sing "I Could Have Danced All Night" from My Fair Lady but this is not her forte. Her voice is too big for the role of Liza Doolittle and the waltz-like/operetta song is way out of her league. On a final note, Nilsson sang Mozart, namely the part of Dona Ana in Don Giovanni, which is found on at least two studio recordings, the famous one being the one with Cesare Siepi as Don Giovanni and Leontyne Price as Elvira under the baton of Erich Leinsdorf. Her Dona Ana is neither beautiful nor mannered, she sings with the usual Nilsson bravura and attempts to soften her voice but she shows no real command for the Mozart reperotire and again this was purely experimental for her.

LONG LIVE BIRGIT NILSSON! I WILL FOREVER REMEMBER HER AS BRUNHILDE, SINGING WITH SUPERHUMAN POWER AND PASSION IN THAT CLIMATIC IMMOLATION SCENE AT THE END OF GOTTERDAMMERUNG. NO ONE CAN MASTER THAT GRAND SCENE "Fleight Hom, Ih Rabens (Fly home you Ravens!) .."GRANE..MEIN ROSS (Grane My Horse!) HER VOICE GETS STRONGER, HIGHER AND MORE INTENSE, FLYING, FLYING EVER UPWARD TO VALHALLA.

Birgit Nilsson Now Sings In Heaven.......2006-01-22

On December 25th, 2005, the great soprano Birgit Nilsson passed away, and an era went with her. She was singing at a time in the mid 20th century just after World War II when other golden-age singers had made it big at the Met- among them Maria Callas, Renata Tebaldi and Victoria De Los Angeles, the latter two which also died only recently. Nilsson will forever be remembered for her Wagnerian heroines- the Valkyrie Brunhilde, Isolde, and for her outstanding Turandot. But Nilsson sang a variety of repertoire, though critics snubbed her in such terrific roles as Beethoven's Leonore in Fidelio, Verdi's Lady Macbeth and Puccini's Tosca, roles which I think suited her well and she sang wonderfully. She also sang Mozart's Dona Anna, though this role for me was not suited to her voice. This album is a tribute to her supreme artistry. Here we have Aida's great aria Ritorna Vincitor! - an aria which is more stentorian and heroic sounding than the lush, lyrico-spinto renditions of such fine Aidas as Renata Tebaldi and Leontyne Price. The aria " O Don Fatale" belongs to Princess Eboli in Verdi's Don Carlo and should rightly be sung by a dramatic mezzo soprano. Nilsson handles the music to this quite well, however. Although she never performed Leonora in Forza Del Destino, the "Pace Pace Mio Dio" in this album is sublime. The rest of the arias include arias from Strauss' Salome, Elektra and Wagner's Gotterdammerung and Tristan And Isolde. Her distinctive voice is well captured on this album and any true fan of the late diva will want to buy this.

Ave Atque Vale, Birgit Nilsson.......2006-01-13

Every opera lover in the world met the news today of the December 25, 2005 passing of Birgit Nilsson with sadness. She was surely one of the greatest opera singers of the 20th century, and in Wagnerian roles alone she was the equal of the great Kirsten Flagstadt. From her beginnings as a simple farm girl in Sweden she rose to the top of all of the international opera houses in the three decades when her voice was in full bloom. Her last public performance was in 1984 but she continued her legend in her masterclasses. She was a phenomenon whose glorious voice and presence will be much missed, but at least she has a huge recorded legacy that adds to her immortality.

This 2 CD set is a gathering of excerpts form many recordings and while it does not have the impact of, say, a full performance as Isolde or Brunnhilde or Turandot or Salome, it does offer a generous sampling of the many roles she mastered. Included on this set are arias form 'Macbeth', 'Aida', 'La Forza del Destino', 'Don Carlo', 'Tosca', 'Lohengrin', 'Die Götterdämmerung', 'Elektra', 'Salome', 'Die Frau ohne Schatten', 'Tannhäuser', 'Tristan und Isolde' and songs by Wagner ('Wesendonk Lieder'), Sibelius, Grieg, and Ture Rangström, and yes, even Frederick Lowe! She performs with various orchestras and conductors and pianists.

Not usually one for these 'best of' albums, this one is special, especially with the news that this extraordinary artist whose voice could reach the heavens is gone. An aptly titled memento -Highly Recommended. Grady Harp, January 06

RIP BIRGIT NILSSON - 5/17/1918 - 12/25/2005.......2006-01-12

The opera world mourns the passing of the great dramatic soprano. I never had the fortune to experience her performances live, but her many complete opera recordings and recitals are part of my CD library. This set is a perfect introduction to this diva's art and versatility.

Thank you for the music, Madame Nilsson.

Meditation Music:

1. Richard Strauss: Elektra
2. Rimsky-Korsakoff: La Nuit de Mai
3. Romantic Opera
4. Rossini - La Cambiale di Matrimonio / Dara · Jeun · Canonici · Frontali · Laurenza · Rinaldi Miliani · RAI · Renzetti
5. Schubert: Lieder
6. Smetana: Dalibor
7. Strauss Arabella
8. Strauss: Ariadne auf Naxos
9. Strauss: Scenes from Elektra and Salome
10. Strauss: Scenes from Salome and Elektra

Meditation Music

meditation music

Meditation Music

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The Best of Verdi: Highlights (Box Set) [Box set]

The Keys of Love

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The Zero to One Sessions

To Another Shore

Tiny Cities

Tim Moore [Import]

Two Can Dream Alone

Tony Parenti and His New Orleanians

Upon a Shamrock Shore: Songs of Ireland & the Irish

This Is Not 4 Free [CD-single]

Girls of Grace

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