Customer Reviews

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

5 star:		(11)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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!

This recording, in mono, in 1953 puts DDD productions in shame. UNLIKE many mono recordings, this mono is NOT DRY - it is superb mono and there is almost no tape hiss AT ALL. This is one of the great Elektras of the 20th century, don't miss the performance - there are no modern stereo digital Elektras that can compete with this recording - only the Solti and Bohm Elektras can beat this.

I haven't heard this but the Koch Schwann version sound quality is in magnificent mono and the voices are crystal clear. I think the premium is worth it because this performance is a miracle - incandescent and Varnay at her peak rivalling Nilsson. A true great legendary historical recording.

Elektra is a fascinating opera. These days, the title role is frequently sung by sopranos who have thick and harsh voices, strained at the top. While the quality of recording has improved,the quality of singing has declined. So what's the answer? Yes, this recording of Elekta is the answer!! It is the only Elektra that can stand on its own along with Decca's Elektra with Nilsson. That says a lot about how good this is.

This recording, in mono, in 1953 puts DDD productions in shame. UNLIKE many mono recordings, this mono is NOT DRY - it is superb mono and there is almost no tape hiss AT ALL. This is one of the great Elektras of the 20th century, don't miss the performance - there are no modern stereo digital Elektras that can compete with this recording - only the Solti and Bohm Elektras can beat this.

I also agree with other reviewers. This recording is great, one of the 2 or 3 finest choice for that opera. Seldom have so many outstanding singers been gathered for this unique experience. Varnay is one of the first two Elektras of the century (but after Borkh), Rysanek is a splendour (together with della Casa and Welitsch), Fischer is excellent (like Mödl or Madeira) and Hotter is a god (as Wotan... as Orest I do prefer Fischer-Dieskau). And finally Krauss proves that he was an authentic Straussian. Nevertheless there is something that does not make this recording the perfect version to bring with on a desert island. Maybe the voices are well caught but rather too close. Probably the excitment would have been fabulous live on stage (this is a live a recording but at the radio without any public)... Personally I will eternally regret that the reopening of the Munich festival in 1963 chose the Frau instead of Elektra with the same cast that included Borkh, Mödl, Bjoner, Fischer-Dieskau and why not Thomas as Aegisth?

This "Elektra" is a revelation. Yes, the sound is not superior, and the orchestra playing is not necessarily subtle or revelatory, but look at the cast! Astrid Varnay, a fine and underrated singer, is an Elektra of depth and vocal beauty. Alessandra Marc's celebrated portrayal on DG recently may be more vocally polished, but the drama is simply nonexistent, while with Varnay it takes center stage. Rysanek is magnificent, and this is a fine portrait. Her vocalism is beautiful (the high notes are tremendous) and the drama is impeccable. Fischer is an unusually subtle, very terrifying Klytaemnestra, and Hotter is fine as Orest. The final scene, with Varnay and Rysanek's duet, is thrilling, and the powerful closing really knocks the wind out of you. Overall, a brilliant job by all!

Everything other reviewers have written here about this remarkable recording (a live perfomance) is true and worthy of all the stars given it. Varnay proves herself THE Elektra of the 20th century, along with Borkh and, some will add, Nilsson. This cast of Varnay, Rysanek, Fischer and Hotter (at his prime) cannot be matched today, unfortunately.

Rysanek filmed Elektra early in the 1980's, to leave her own legacy of this great role (along with all her Chrysothemis's). If you're a Rysanek fan, like most opera lovers, try the Orfeo disc which features her in all three roles, taken from various recordings and the film. A stunt, no doubt. But what other soprano has sung all three roles in this difficult opera. The film, by the way, features Rysanek as Elektra and Varnay as Klytomestra; it's available on DVD.

A final word: this Gala recording is no longer available in the US because it uses about forty minutes of pirated selections from a Met broadcast of "Rosenkavalier" as filler material (Varnay as the Marschallin and Rise Stevens as Octavian -- talk about luxury!). But it's easy to find at UK web mail order sites, air-mailed to the US at about $20.

NOTE: The above was written a while back before Bush trashed the dollar. Therefore, expect to pay more than the $20 quoted. I've not looked at Crotchet or MDT recently, but it's probably now in the area of $25-30 -- all because an incompetent president couldn't read the intellligence and therefore started a war.