Customer Reviews

Elektra [Blu-ray]

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This is the best Elektra on DVD; especially good as an introduction to this opera. Here's why:

Elektra is a psychological drama usually difficult for beginners to "get into." This is chiefly because, traditionally, our Elektras have been older, established singers, but this very middleaged look makes it very hard for viewers to identify with the young Elektra who has been imprisoned by her mother and stepfather.

In this production we see Eva Johansson who is a much more age-appropriate Elektra. She has a wonderful voice, strong enough to be heard above Strauss' dynamic orchestral statements, yet soft and expressive when the score calls for it. Additionally, Johansson has here a wild, piercing stage presence--exactly what is called for in a successful Elektra.

The other singers are similarly appropriate. Marjana Lipovsek has done the opera before and makes for an excellent evil, yet guilt-ridden Klytamnestra. Alfred Muff is a more convincing Orestes than many previous. He really seems ready to go "do the deed" to punish mom and stepdad.

At first, I was a little worried by the non-traditional staging. Usually Elektra has been staged in a dungeon or cave-like stage, but this one features many doors, presumably leading to other areas of the palace. The costuming, and occasional partial nudity are also a change from the usual drab, "one-size-fits-all" burlap bags usually associated with productions of this opera. It all works! Finally, we have a good first experience with Elektra!

Other things to look for:

the beautiful, yet electifying "recognition scene," where Elektra's head swims dizzily, as she sees that her prayers are answered: Orestes has returned. This scene is typical Strauss, as Orestes says, "the dogs in the yard recognize me but my own sister doesn't."

Strauss' musical magic is there when Elektra cries out to her dead father about the dogs that "licked your feet and went hunting with you." There is a less-than-three-second musical evocation of dogs whining. This is just typical of Strauss' ability to create musical imagery.

The only criticism I would have is of the subtitle which translates "Scham" as "shame." The proper (and usual) translation is "modesty," and this is critical to Elektra's situation. She is telling Orestes how, in order to survive, she has given up even her modesty, to the point that her own brother could not recognize her.

If you've never seen Elektra before, this is a good introduction. If you're already familiar with it, you'll approve of this production.

My first exposure to Elektra was in 1953 with the San Francisco Opera Company; I was lucky enough to see it both in San Francisco and Los Angeles. The cast was truly legendary: Inge Borhk, Margarete Klose, Ludwig Suthaus and Paul Schoeffler. Also making his debut was Solti. I believe Ellen Faull (sp?) was Chrysothemis. I can't say that I knew the opera since it was hardly common currency. And although I was very young I certainly responded to the singing (notably Borkh and Klose) as well as the acting. Borkh had orginally trained as a stage actress and it showed; Klose simply poured out molten tones of liquid gold and was a commanding presence.

Since we don't have singers of this quality around today we can hardly duplicate that level of singing. This new DVD is worth investigating for variety of reasons although the level of singing wouldn't be one of them. My first exposure to Eva Johansson was as Eva in the Deutschoper production of Meistersinger. She was quite charming and vocally up to the rigors of this opera, but I didn't I could hear an Elektra in her. Well, she certainly delivers dramatically and, I suppose, could best be described as a "kunst" diva. Fortunately during the recognition scene she sings quite beautifully; would that her Orest (Alfred Muff) could match her. He is adequate, no more. The Clytemnestra is Marjana Lipovshek; dramatically she is exciting and her monologue is riveting, but the voice is threadbard and worn. Considering that she has spent the last twenty years singing very heavy roles it is hardly surprising. But there is no question that she is thoroughly inside the role. The Chrysotemis is Melanie Diener; quite the most meliflous voice in the cast, but a compelling actress as well.

The only truly outre touch that struck me a utterly bizarre was at the end when a group of what looks like Follies Bergere dancers make a brief appearance. I have no idea what the point being made is, and it certainly is not a deal breaker as regards making a decision whether to buy it or not but it is strange.

The DVD competition for this opera is small: Marton at Vienna State Opera in a Kupfer production that conservative Vienna boos. I like Kupfer's work at Bayreuth but this must is not on the level as his Ring. By the time that Nilsson recorded it (DVD, that is) she is not flattered by the camera and her laser-like voice is frequently off pitch. Viewed as a historical document it is worth having since it also includes Rysanek. The Rysanek is a film and I must confess I found little to enjoy. I understand the last Met outing with Beherns (1994) is in the pipeline. Although Behrens (like Johanssen is a voice or two too small she was very exciting; the DVD will also include Fassbender's Clytemnestra and Voigt's Chrysotemis (pre weight loss--a pity that we couldn't have had Mattila); the production is traditional but a good one. Do I have to make a choice? Well, I've made one, obviously, but I will get the Behrens when it becomes available. One can never have too much Strauss--Richard, that is.

TDK has released a new DVD of an Elektra captured in Zurich
from December 2005. It is a total success.

This opera is one in which a design team can revel. They
can go to the absolute max here in matching Strauss's
tortured music. To my mind, the opera can be made
contemporary to any degree, and ideas to convey its
darkness can be endless. Leonie Rysanek
once stated she did not care for a traditional Classical
Greek setting for the piece, and I agree.

The setting looks to be a combination brothel and insane
asylum, sinister, austere and menacingly closed-in. The
floor has no even footing; it is all precariously un-level,
bumpy and dangerous.

The theme of this production is sex, debauchery and
depravity in its most shockingly unleashed fashion, and
it's exhilarating; no holds barred here, all sacred taboos
are turned loose - to devastating effect. Definitely rated
NC-17. The director, Martin Kusej, does a smashing job of
utilizing the busy production and conversely, playing up
the interpersonal confrontations in a very intimate way. Unlike the other reviewers here, I enjoyed this fresh, original interpretation; it would be easy (but unfair) to label this as Eurotrash. The opera is about trashed values, and its controversial view suits this staging well.

Aiding him in this is the superb cast, and Christoph von
Dohnanyi, the conductor: he brings staggering texture,
drama and tension to the score. The audio is unprecedented
in its clarity, as is the picture. In DVD, opera has found
its perfect "synthetic" medium.

Eva Johannson, a Danish soprano new to me, pulls out all
the stops dramatically and vocally. Looking like a cross
between a young Eva Marton and Karita Mattila, she gives a
searing portrayal. Her energy is positively demonic, a
woman possessed. Dressed in bag-lady-rehab sweat-street
clothes, this Elektra is a visual and audio powerhouse. The
voice is lean, has edge, and is huge. I would not call it
classically beautiful, but Elektra simply cannot be sung by
Janowitz-type voices. This baby's gotta have balls.
Johansson does, in spades. There is at the outset a little
trouble with the mittelage, but grows in strength by
leagues as the evening goes on; the "was bluten muss" is
shattering, and it pleasantly stings the ear. The high C is
nailed like few others have done. The tone cuts, is steady,
and she sings with tireless, unstinting abandon. What a joy
it is to hear such an absence of strain, no wobble, no
screeching. Johansson is particularly good at the baleful
expression, whose looks can really zing those darts, but
the "Orest!" is shimmeringly lyrical and reposed. Johansson
carries on the illustrious Varnay-Nilsson-Jones lineage
magnificently. Anyone who can command this role without
self-combusting earns my highest respect; after Jones
retired, it seemed unlikely that this generation could
produce such a worthy successor, but Johansson may well be
the Elektra of this time.

Melanie Diener's shining Chrysothemis matches Johansson all
the way, singing with refulgent, unforced tone. Marjana
Lipovsek's Klytamnestra, a puffy, over-made-up near-drag
queen is worthy of the best of them.

The ending is a surprise, not the usual, and it works; I'll
leave it for you to find out, or I can spoil it for you
privately. Let's just say Elektra proves to be stronger
stuff than you might expect (and if she can stand what
she's had to face in the past...that which does not kill
you only makes you stronger).

The rest of the parts are up to the high level elsewhere.
No need to elaborate further, as this triumphant production
does Strauss-Hoffmansthal proud.

Best of all, this release renews for me the genius of this
evocative, colorful score - the language of music doing
what spoken word could not possibly match.

If you love Elektra, and need an extra dose of depravity to
match a mood you may be in, this will do the job
beautifully. You won't find a better depiction of
"tormented souls."

I was a little cautious about purchasing this Electra since I had not heard of any of the singers - only Dohnanyi the conductor. But any ambivalence was soon expelled by Eva's total performance as Electra. She is movie-star gorgeous - indeed this is one Electra who does not seem older than her mother. Again and again I was struck by her seeming youth and saying, yes, this is how old Electra is, she is not in her dotage but a vigorous young woman. She throws herself into the part with a vengence. I wouldn't want to meet her on a deserted street. Finally and most important she has a phenomenal voice - piercing the orchestra when needed, soft and beautiful also.I kept thinking here is the counterpart to Matila's Salome. She is aided by a cast that has no real shortcomings. And Dohnanyi in the pit lets the orchestral beast bellow with rage. The only problem is the production. Kusej dresses his actors to emphasize Electra's outcast status - Chysothenis and Klytamnestra wear luxurious dresses, Electra is dressed semi-punk. OK, but at the end during Electra's dance Kusej brings on a troop of Brazilian-like carnival dancers. It is meant to be jarring, but I'm not sure it is successful. My advice is get this DVD for Eva and shut your eyes during the dance if you have to. Anyway by that time you are just hoping poor Electra can die - she certainly can't go on like this and neither can we. I look forward to Johansson's future career. Here is a major singer with seemingly everything going for her.

After Salome and Elektra, Strauss felt he had gone as far as he could in depicting obsessed females of this kind,but had not retreated from Avantguarde music.He simply did not want to repeat himself. Elektra was the first opera that Hofmannsthal and Strauss worked on together. Hofmannsthal may not have read Freud at the time of writing the libretto, which is based on his own play, based on Sophocles.The first performance of this opera, was held at the Semper opera House, Dresden in January 1909.

When Agammemnon returned home victorious from Troy,he was murdered in his bath by his wife Clytemnestra and her lover Aegisthus. Her daughter Electra had then spirited away her younger brother, Orestes, sending him into exile, where he might live in safety and be brought back to avenge their father. When he returns Orestes kills his mother, Clyemenestra and Aegisthus.Afterwords, she dances and dies.

In this rendition of this opera Elektra is a young punk. A social outcast in house where the mood is one of overriding sophistication, with leather upholstered doors in the long corridor, servants wearing short skirts, who are tarts in suspender belts. We see a supression of emotions where ultimately a meaningless orgy takes place. When Elektra uncovers her ax and buries the little girl, this is symbolic of burying her childhood trauma. We do see men and women appearing through doorways, failing to the ground and fighting with axes. Showing that what was a purely individual act of murder of Agammemnon, has become collective madness that takes over the society.All this takes place within a gray hall, with the white doors, which show off Elektra's light Khaki yellow open track suit top,over a deep purple and blue zipped top, which corresponds with Clytemestra's dressing gown and dress. The tonal values are the same. Every costume has been throught through so as not to clash tonally. The Grey court yard covered by a roof, is timeless. Notice how the singers stand out in this neutral grey background. Also, the figures of the singers are never directly in the middle of the TV screen, nor is the horizontal line. This makes it easier on the eye. For this is how a picture is composed,with perspective. The colours of the clothes all complement each other.

Eva Johansson is Elektra, the part is made for her. She is young and is a fine actress. She sang Brunnhilde in Battles version of the Bluray Wagners Die Walkure.A very strong voice. She does not look older then her Mother. Clytemnestra is Marjana Lipovsek ,Chrysothemis is Melanie Diener. In fact all the parts are well taken. The Zurich opera house orchestra is conducted by Von Dohnanyi. He builds up the tension gradually. At places the tempi are fast, then he slows down to bring out the glorious themes, but near the end tempi are extremely taut, tense and fast. How does it stand against the Bohm version of Elextra. The Von Dohnanyi version is live and modern.The Bohm is a film, in a traditional expressionistic rainy setting. Bohms tempi are fast. The singers are Rysanek, Varnay,(a great Brunnhilde). Ligendza, with the Vienna Philharmonic orchestra. Bohm died a few months later in 1981. Both productions are good. I would suggest you buy both. Bohm knew Richard Strauss, and conducted some of his premieres. So it is a document of a great conductor, even though he was a fully paid up member of the Nazi party. Strauss did cooperate with the Party, but he thought being a artist he was above it all. He did help his Jewish daughter in law. Von Dohnanyi's uncle I think was involved in the Bomb plot against Hitler in 1944. Von Dohnanyi is a great Strauss conductor but of a different ilk. Two great performances.

There is no lack of ideas here. The problem is that none of the ideas have anything to do with making Elektra more accessible or with clarifying the libretto, which is not needed in any case. The stage is littered with what looks like mounds of old grey rugs strewn about. There are many doors, maybe about three feet apart, through which a lot of people come and go. During Elektra's monologue, someone opens one of the doors, wipes the handle, and exits. No idea why. There is a lot of movement; people cavorting naked or half-naked (I guess this shows depravity and decadence). Everyone is costumed unbecomingly. Eva Johansson wears some old gym clothes and her singing is nothing to write home about. She can sing loudly and she can sing softly, but she is no Elektra. Her face does not convey the emotions that the close-ups are clearly looking for. The rest of the cast sings well enough without being outstanding. Von Dohnanyi's conducting is the best thing here. Buy the Rysanek/Bohm version - this one doesn't cut it.

The options for seeing Elektra on DVD are very limited, so finding a third one now on the market was cause for celebration... until I saw it.

Starting with the positive: Dohnanyi and the Vienna Phil give an excellent reading of the score. What is lacking in the brutal emotional immediacy I prefer is made up for in clarity and emphasis on the lyrical qualities in the score. The orchestra seems a little farther back in the mix than it should be, but otherwise I have no complaints.

It is nearly impossible to cast the perfect Elektra, so usually I am merciful and first judge Chrysothemis. In this case, Melanie Diener is vocally a little sloppy and her acting is limited (I think she only makes one face the entire time). Johansson, as the title character, is disappointing. Her presence is appropriately fierce, but the quality of her singing is wildly inconsistent (cf the recognition scene, where in "Orest! Orest!" her pitches are all over the map and her tone is much more dry than elsewhere; it may have been intentional as a way to convey tenderness).

Everything else aside, the production is absurd. The Brazilian flamenco dancers who are brought out for a line dance (the Macarena?) which is completely unrelated to the underlying music is hardly what Strauss or Hoffmansthal had in mind, yet it's the least of my worries. Aegisth looks like a cross between Boy George and John Goodman in the 1980s. Better yet, he has a gun--which were surely easy to come by in ancient Mycenae--and I have no idea why Elektra would be concerned about digging up the axe when the gun ends up in her hands anyway (and why she doesn't just shoot her stepfather with it when she aims it at him and instead lets her poor brother do the deed with his bare hands is a little puzzling). And at the end, before the music stops, our dead Elektra stands up, face to the audience, apparently confusing herself with Lazarus.

What a difference fifteen years can make. In 1989, Harry Kupfer and his partners were raucously booed off the stage for their simple and psychologically appropriate set and slightly unusual costumes, yet there is nothing but applause for this nonsensical, bizarre staging. I would recommend that Kupfer-staged account w/Marton, Studer, Fassbaender, King, Gruendheber, et al. If you want to see a performane that will leave you utterly exhausted (in a good way), that would be a good place to start.

Absolutely Supurb singing -- especially by the soprano Eva Johansson singing the role of Elektra; it is a tour de force. She makes this production worth buying. Though I have seen productions of practically every other opera by Richard Strauss, this was my first experience with Elektra, and this recording has made it one of my favorites. What a score! Though the production suffers from the typical rejection of anything obvious currently popular in Europe, it still shows the power of the work, which transcends even the tritest mements onstage. And the soprano is perfect for the role.

Modern aspect of Strauss' Elektra though not of high quality. The director's aspect was totally uncaused and unreasonable, pitty for the singers and the conductor.
Johansson is the best VOCALLY Elektra I have ever 'seen' on stage. HOWEVER her acting has nothing to do with Elektra of Eva Marton (the best Elektra ever for me) Gwyneth Jones, Birgit Nilsson, L. Rysanek. I feel she had NO HELP at all from the stage director.
The whole production, GENERALLY, lucks of inspiration and good acting.