Search - R Strauss, Behrens, Rysanek :: Elektra

Great recording! Behrens, unforgettable for ever!

Ha-De Nguyen | Paris, France (Europe) | 01/02/2002

(5 out of 5 stars)

"My opinion is radically different from the other reviewer's here-below!
This recording is really great as it preserves Behrens' last interpretation of Elektra. She was already recorded commercially by Philips in 1988 under Ozawa. That was an interesting version but far from a reference. Maybe because Behrens still lacked some experience of the character although she already was in her early fifties! Because Strauss' opera interpretation requires incredible vocal demands together with character and experience of singing the role, live on stage. In particular, Elektra is terrifying for the actress has to sing during the whole opera though it is rather short and in only one act but, she must give everything in 90 minutes!
Like Leonie Rysanek that great straussian singer who only dared to tackle the role at 55 and during a recording session, I agree that no singer should try it at an early age without irreversible damaging effects on the voice. Even a Nilsson would start singing it at nearly 50 and after many Isoldes or Brünnhildes!
I must recognize an exciting listening for us would be a firm, beautiful and young tone into the role because Elektra should only be around 25 after all. But which singer could actually sing it with the necessary maturity for the dramatic theatre during 20 or 30 years long?
HILDEGARD BEHRENS is the right answer : because she can sustain the legato line while showing her comprehension of the role although with some edges in the voice that even make us better understand what Elektra has experienced. Further she never shouts and her interpretation is this time supreme and the tone is full and beautiful. I'm fond of older interpretations from Borkh, Varnay, Schlüter and Goltz but that Behrens' is the best of them all!
The advantage is that the rest of the cast is equally superior!
Rysanek sang the second role of Chrysothemis for nearly 40 years before she gave up for that of Klytemnestra (after one attempt at recording the title role). I've always found her too mature for Chrysothemis but as the mother she is at nearly 70 simply perfect, surpassing Madeira, Resnik or any other, terrific!
DeVol is from the new generation of singers but very different from a Studer or a Marc. The voice is steady and very stylish indeed. She does not add any useless accents but her interpretation is warm and simple, convincing and vocally commanding without any under-the-note attacks.
The names of the men are rather anonymous but equivalently characterful with the recognition scene particularly moving so that each meeting of Elektra with her sister (three times), her mother, her brother or her father-in-law is like a chess confrontation.
Not to forget is the 5th maid remarkably sung just like Horne at Salzburg in 1957 with Mitropoulos...
The orchestra is a small one and does not sound like the Vienna Philharmonic but exactly gives the right dimension to the drama.
The recording is very vivid, not totally atmospheric but suits well to that opera."

Terrific performance of great historic value

Ha-De Nguyen | 08/21/2003

(5 out of 5 stars)

"I do not agree that "Behrens is the best of them all". The best Elektras - Birgit Nilsson, Astrid Varnay, Inge Borkh, Leonie Rysanek, are untouchable. If you want a definite Elektra, you must get the Birgit Nilsson set with Solti (DECCA) or the Astrid Varnay set with Richard Kraus (Koch Schwann - in fabulous super clear sound) or Leonie Rysanek's film, or Inge Borkh with Bohm under Deutsche Grammophon, or Inge Borkh with Mitropoulos at the 1957 Salzburg under Orfeo. These sets are all classics.At the same time, I do not agree that Behrens is very bad. I think her singing is fine and her top notes are great. They are very radiant and penetrate the orchestra readily. I think she is arguably one of the best Elektras in the world today. This is a live performance in 1995. The sound here is fabulous stereo - crystal clear - and the orchestra is excellent. Yes, Behrens is great. But for me the greatest interest of this set is Leonie Rysanek's Klytamnestra - and this recording is of utmost historic importance. Leonie Rysanek was the only singer of world standing to take on and triumph in all the three principal roles in this opera - Elektra, Chrysothemis and Klytamnestra. Birgit Nilsson only sang Elektra. Astrid Varnay sang Elektra and then switched to Klytamnestra beginning 1970. Leonie Rysanek took on Chrysothemis starting from 1953 (her first Chrysothemis can be heard in the 1953 Kraus performance with Astrid Varnay as Elektra under the label Koch Schwann in fabulous and super clear sound). For over 36 years (from 1953 to 1988), she was the greatest Chrysothemis in the world. From 1965 to 1980, she formed a fabled partnership with Birgit Nilsson's Elektra and the triumphal progress of this opera was almost inextricably bound up with this overpowering duo. The Nilsson-Rysanek pair ensured triumphs and record-breaking applause. Astrid Varnay shifted from Elektra to Klytamnestra at the beginning of the 1970s and Leonie Rysanek also paired up frequently with Varnay as Mother and Daughter from 1970. There is a recording of the peerless trio of Nilsson-Rysanek-Varnay in 1975. In 1981, things came full circle when Leonie Rysanek took on Elektra with Astrid Varnay as Klytamnestra in the Gotz Friedrich film soundtrack under Karl Bohm. Starting from 1989, Leonie Rysanek changed her voice category to mezzo and she took on Klytamnestra. This 1995 recording is the only recording of Leonie Rysanek's Klytamnestra that I know of. And what a Klytamnestra she is!!!! Her characterization is colorful. Her huge and rich voice has a matronly feel that is absolutely apropriate for her role. Her laughter after she receives news that Orest is dead is the most diabolical and fiendish laughter I've ever heard. All the other parts are excellent.I would not want to be without Leonie Rysanek's Klytamnestra given the historical importance of her performance in the role and the drama she imbues into the role. Plus we have the added bonus of an excellent Elektra in Hildegard Behrens, arguably the best Elektra in the world today. When Leonie Rysanek passed away in 1998, she bequeathed the coveted Lotte Lehmann ring to Hildegard Behrens, a sign that Rysanek thinks very highly of Behrens. This set is very highly recommended."

Nice surprise

Kyle E. Lockhart | Texas USA | 02/21/2006

(4 out of 5 stars)

"I purchased this set because I wanted a complete recording of Rysanek's Klytamnestra. I really didn't expect much from it except a great performance by Rysanek. However, after a few listens, I find it to be a pretty good recording overall. First, the sound quality is great. Also, I found Behrens much better on this recording then on her prior recording under Ozawa. Even though she isn't the perfect Elektra voice, she does allow me to hear the young girl in Elektra. This seperates her performance from all the other Elektras on record. Of course, Rysanek does not dissapoint on this set. If you are looking for one perfect recording of Elektra, it does not exist. And, this probably shouldn't be your "one" recording of Elektra. But, if you enjoy hearing multiple versions, this is one to listen to. I am glad I stumbled upon it......"