Christel Goltz never had a voice of intrinsic beauty, but it was a powerful, very expressive one rather like Gabriele Schnaut and Evelyn Herlitzius today. Her tone isn't always steady and not every note finds the correct pitch. But her involvement in the character is so complete you won't care. The many gasps, sighs, and extra musical noises add to, rather than detract from her portrayal of this very troubled person.Rysanek is at her youthful best here without some of the mannerisms that plagued her work later on in her career. Her high B at "Ich muss bei meinem Bruder stehn!" is viscerally thrilling. Madeira is also in top shape, using her unique contralto voice to great effect. Oddly, she doesn't speak the words "Lichter! Mehr Lichter" in her scene with Elektra though there are plenty of groans and laughs elsewhere. Who ever did her offstage screams should have been given a raise - they are terrifying!The supporting cast is made of superb Munich-based house singers. Uhde is a great Orest as is Klarwein as Aegisth. Bohm leads the entire opera with superb pacing, really at one with his cast. Usually there are caveats about the sound, but the Pirate Gods smiled happily on this venture and the sound is excellent throughout the performance. Elektra fans must hear this!

I incorrectly suggested in my previous review that Rysanek recorded the role of Chrysothemis with Behrens, when of course she is in fact singing the role of Klytemnestra in that recording.

I picked up this recording because I was curious about the performance of Christel Goltz, whom I had not found entirely satisfactory as Salome for Krauss. I think I prefer her as Elektra, where her unwieldy approach (somewhat of the Gwyneth Jones ilk) seems more appropriate for the character. In spite of her occasional out-of-control singing, she is able to manage some truly beautiful floated, high pianos. Unfortunately, most of these and some of her other climactic top notes are nearly a half step flat. What really makes this recording is the sparkling Chrysothemis of Leonie Rysanek, who all but steals the show. She can also be heard in this role with Schröder-Feinen/Böhm, Behrens/Layer, and a great all-around performance with Varnay/Kraus. Rysanek is also one of the few singers to have performed all three major female roles in Elektra (and possibly the only one to have recorded all three?).While Goltz's few shortcomings are disappointing, they do not spoil the overall impact of this strong live performance—the likes of which one can scarcely imagined being presented today—and which, by the way, is captured in very good to excellent sound throughout.