Good stereo sound and dont mind the few dropouts, you should buy this! I have details of this production...Opéra de Paris (Paris Opera)Conducted by Karl BohmProduction - Palais GarnierMise en scene - August EverdingScénographie/Costumes - Andrzei MajewskiDates: 11-25 April 1975(4 performances)Birgit Nilsson (Elektra)Leonie Rysanek (Chrysothemis)Astrid Varnay (Klytemnestra)Richard Lewis (Aegisth)Hans Sotin (Orest)Jean-Louis Soumagnas (Tutor of Orest)Robert Dumé (A Young Servant)Fernand Dumont (An Old Servant)Hélia T'Hézan (Overseer)Jocelyne Taillon (First Maid)Anna Ringart (Second Maid)Francine Arrauzau (Third Maid)Hélène Garetti (Fouth Maid)Éliane Lublin (Fifth Maid)Maryse Acerra (Trainbearer of Klytemnestra)

This was a live broadcast from Paris via Radio France, but unfortunately, at the recognition scene the signal was lost and after a few minutes when the signal could not be regained the BBC put on the Nilsson/Solti recording to complete the evening, hence my review title.A long time to wait,but well worth it - a performance to relish & enjoy.

First of all, kudos to Andy for getting the pitch right on this excellent performance. It was available on Melodram (at an exorbitant price) pitched a quarter to a half step low. Secondly, even if you have Nilsson, Rysanek, and Varnay in other Elektra performances you still need this one. At 57, Nilsson still sounds incredible. Occasionally a few pitches in mid-range betray her, but the top Cs are thrilling and Nilsson is unsparing of herself as a performer. Rysanek was in very good voice the night this was recorded. Not only do her top notes soar, but she adds some sobbing sounds after her first monologue that are heart-rending. Speaking of adding sounds, Varnay does it throughout her performance. The voice itself is, of course, not what it was, but she is in good voice for this point in her career. Her mad laughter at the conclusion of the scene with her daughter is chilling as are her screams (clearly done by the singer herself!).Sotin and Lewis are memorable, really making an impact in roles that can go for nothing. The supporting cast includes such fine singers as Elaine Malbin,Jocelyne Taillon, and Francine Arrauzau. Karl Bohm makes the entire opera sound beautiful, but isn't afraid of the dissonances in the score.The sound is good and, as mentioned earlier, has now been pitched correctly. There are some annoying dropouts, but they're brief and not too bothersome. If you love Elektra or any of these singers, get this!

Have not recieved it yet.

I agree with all the pro's above, but I think it fair to add to the con's by reporting that there is a persistent and very noticeable hiss throughout the performance. If you're tolerant of "historic" sound, then you can probably not worry too much about the hiss (one's ears become accustomed fairly well). Since there are far cleaner performances of Nilsson and Rysanek in their parts (some of them here at Opera Depot), this is for completists. Having said that, the performance is exciting so you'll have to decide what your level of sonic tolerance is. Like the curate's egg: "good in parts" I guess you'd say.

Si un jour vous pouvez disposer de l'enregistrement officiel de la radio archivé à l'Ina prévenez-nous .

16 Avril 1975 J'y étais Soirée en présence de Giscard et Walter Scheel marquée par une panne électrique au beau milieu (la radio a dû faire un montage) . Les 3 dames sont en forme exceptionnelle, Nilsson plus fouillée que dans les années 60, Rysanek et Varnay ont marqué leurs rôles à jamais . Böhm toujours chez lui dans cette oeuvre estimait avoir ici sa meilleure distribution .

J'ai eu le bonheur d'assister à cette fabuleuse représentation le 16 avril 1975. Quel trio de femmes ! Quelle direction de Karl Böhm ! Et le reste parfait aussi. Immanquable !