Strauss: Elektra (Richard Kraus, Chor und Symphonieorchester des WDRS, Koln, 1953)

Richard Strauss (Composer), Richard Kraus (Conductor), West German Radio Symphony Orchestra (Orchestra), Chor und Symphonieorchester des WDRS (Orchestra), Astrid Varnay (Performer), Hans Hotter (Performer), Res Fischer (Performer), Leonie Rysanek (Performer), West German Radio Choir (Performer), Helmut Melchert (Performer) | Format: Audio CD

Product Details

• Performer: Astrid Varnay, Hans Hotter, Res Fischer, Leonie Rysanek, West German Radio Choir, et al.
• Orchestra: West German Radio Symphony Orchestra, Chor und Symphonieorchester des WDRS
• Conductor: Richard Kraus
• Composer: Richard Strauss
• Audio CD (June 6, 2000)
• Label: Gala
• ASIN: B000001XN9
• Average Customer Review: 4.8 out of 5 stars  See all reviews (13 customer reviews)
• Amazon Best Sellers Rank: #442,033 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Elektra, opera, Op. 58 (TrV 223): Wo bleibt Elektra?

2. Elektra, opera, Op. 58 (TrV 223): Allein! Weh, ganz allein

3. Elektra, opera, Op. 58 (TrV 223): Elektra! Ah das Gesicht!

4. Elektra, opera, Op. 58 (TrV 223): Ich kann nicht sitzen und ins Dunkel starren

5. Elektra, opera, Op. 58 (TrV 223): Es geht ein Lärm los

6. Elektra, opera, Op. 58 (TrV 223): Was willst du? Seht docht, dort!

7. Elektra, opera, Op. 58 (TrV 223): Die Götter! bist doch selber eine Göttin

8. Elektra, opera, Op. 58 (TrV 223): Ich will nichts hören!

9. Elektra, opera, Op. 58 (TrV 223): Ich habe keine guten Nächte

10. Elektra, opera, Op. 58 (TrV 223): Wenn das rechet Blutopfer unterm Beile Fällt

See all 18 tracks on this disc

Disc: 2

1. Elektra, opera, Op. 58 (TrV 223): Nein, du sollst mich nicht umarmen!

2. Der Rosenkavalier, opera, Op. 59 (TrV 227): Introduction

3. Der Rosenkavalier, opera, Op. 59 (TrV 227): Wei du warst! Wie du bist

4. Der Rosenkavalier, opera, Op. 59 (TrV 227): Der Feldmarschall sitzt im krowatischen Wald

5. Der Rosenkavalier, opera, Op. 59 (TrV 227): Mein lieber Hippolyte

6. Der Rosenkavalier, opera, Op. 59 (TrV 227): Da geht er hin, der aufgeblasene schlechte Kerl

7. Der Rosenkavalier, opera, Op. 59 (TrV 227): Ach, du bist wieder da!

8. Der Rosenkavalier, opera, Op. 59 (TrV 227): Die Zeit, die ist ein sonderbar Ding

9. Elektra, opera, Op. 58 (TrV 223): Schweig und tanze

Customer Reviews

Most Helpful Customer Reviews

12 of 13 people found the following review helpful:

4.0 out of 5 stars We're missing something here..., December 3, 1999

By 

Daniel Mitrano (Ft. Lauderdale, FL) - See all my reviews

This review is from: Strauss: Elektra (Richard Kraus, Chor und Symphonieorchester des WDRS, Koln, 1953) (Audio CD)

I agree with everything the other reviewers have said, but I think what was left out is Krauss' conducting--why,he actually makes the opera sound pretty! I can just see Solti listening to this opera recording and thinking, "No, that can't be right!" Krauss uniquely understands the musical possibilities beyond the "exciting, animal, dissonant hysteria" in the score. He knows all of these elemnts are already written into the music. There's no need to bring incessant attention to them as nearly every other opera conductor has done. Although Sawallisch comes close, he doesn't get the unified roundness of clarity or tightly wound energy that Krauss summons. I haven't heard Sinopoli's recording yet, but as far as "knowing" the music, Krauss can't be bettered. No, the sound isn't good and it's cut (always a sin) but still, it's worth buying.

8 of 8 people found the following review helpful:

5.0 out of 5 stars A great performance, June 29, 1999

By A Customer

This review is from: Strauss: Elektra (Richard Kraus, Chor und Symphonieorchester des WDRS, Koln, 1953) (Audio CD)

Astrid Varnay's performance of the title role here is astonishing. Recorded before the voice began to deteriorate, she is totally secure vocally, making the part sound easy, and she is excellent dramatically too. I think Varnay is possibly the most underrated and unfairly criticised of singers. For my money she is probably the greatest dramatic soprano of the century - Flagstad and Nilsson may be superior in purely vocal terms (though neither of them was perfect), but Varnay is undoubtedly in a different league from either of them artistically.

Rysanek offers an early example of her famed, intense Chrysothemis, Res Fischer is a first-rate, spooky Kytämnestra, and Hotter a fine Orest. Even the maids are excellent - compare them to the supporting cast on any modern recording and they win hands down.

The sound is a bit odd - the singers are VERY heavily favoured over the orchestra, which can sometimes add to the atmosphere (Klytämnestra's 'Ich habe keine guten Nächte' sounds extremely creepy when she seems to be whispering it right into your ear) but more often detracts from it. Varnay's and Rysanek's are big voices that could do with a bit more space round them, whilst the orchestra is extremely important in Elektra and ought to be heard. Nevertheless, it's good to hear a performance where you can really hear these singers in roles that count among their greatest achievements, without the distraction of poor sound or audience noise. The performance has the standard stage cuts. Very highly recommended.

7 of 8 people found the following review helpful:

5.0 out of 5 stars White Hot Drama - Buy it now!, September 4, 2001

By A Customer

Amazon Verified Purchase

This review is from: Strauss: Elektra (Richard Kraus, Chor und Symphonieorchester des WDRS, Koln, 1953) (Audio CD)

Yes, the sound is not the greatest, but do NOT let that stop you from buying this amazing recording. Varnay is stunning with her magnificent voice- powerful, expressive, dark but not limited in tonal variety... rich throughout from bottom to top and those high notes held no fear for her. And even if her voice were not so wonderful, this performance would be remarkable for her grasp of the character and ability to clearly communicate both sides of Elektra: the frightening, violent obsessiveness along with the sympathetic, wounded woman. She pulls out some sweet high soft notes that will have you asking, how can she do that and sing such a titanic Brunhilde?
Res Fischer makes a wonderfully characterful Klytemnestra- making a few grotesque groans- but not too many. She never crosses the line into comical exaggeration. Quite the opposite- her moans and whispers are quite compelling. Many who want more honest vocalism in this part will disagree, but I judge a Klytemestra (indeed a whole performance of Elektra) in part by her laugh after she hears that Orest is dead, and her offstage screams when she is murdered, and Fischer REALLY delivers the goods on both counts. Her laugh is shrieky and the last scream sounds like a good movie scream- so violent in the throat that you wonder how a singer would consent to do it (I am assuming that she did her own- you may wonder if she did, which means that it's a really good scream).
That's not to say that this recording cheats in the musicanship department- the orchestra does a fine job, and the moments before the murders are really taut with suspense, more so than any other recording I've heard (thanks in no small part to Ms. Varnay). And if you want pure lyrical ecstasy, try the Chrysothemis/Elektra duet at the end- Rysanek and Varnay- what more do you want?
As you might expect, having Hotter as Orest is almost too luxurious- it sounds as if Wotan walked in the front door. This really is an amazing recording- really outstanding amongst all recordings of this work- vintage or contemporary. And the most shocking thing about it is the price- stop reading this review and click order before this vanishes forever!