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17 of 20 people found the following review helpful:
5.0 out of 5 stars
Finally--an Elektra for newcomers!, November 23, 2006
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.
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
A New Twist on Elektra, May 8, 2007
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.
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6 of 8 people found the following review helpful:
2.0 out of 5 stars
Eurotrash Elektra, July 18, 2007
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.
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