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Elektra
This recording of Elektra bears witness to the fact that in the 60s even the smallest of European houses had access to singers that today would be gracing the world's great stages. Liane Synek displays a voice that can both muster up the fury worthy of a great Elektra, while conveying the youth of the character. She is joined by Natalie Hinsch-Gröndah who delivers a chilling performance of Klytämnestra which, in my opinion, could hold its own in comparison to Regina Resnik and Irene Dalis. The rest of the cast is good and it is worth pointing out that a young Helga Dernesch sings the Aufseherin. The sound is not the best and there are a few cuts, but to lovers of this opera this recording will no doubt be a revelation.
Track List
1. Allein! Weh, ganz allein.
2. Elektra!... Ah, das Gesicht!
3. Ich kann nicht sitzen
4. Es geht ein Lärm los
5. Was willst du? Seht doch, dort!
6. Ich habe keine guten Nächte
7. Wenn das rechte Blutopfer unter'm Beile fällt
8. Was bluten muss?
2. Elektra!... Ah, das Gesicht!
3. Ich kann nicht sitzen
4. Es geht ein Lärm los
5. Was willst du? Seht doch, dort!
6. Ich habe keine guten Nächte
7. Wenn das rechte Blutopfer unter'm Beile fällt
8. Was bluten muss?
9. Orest ist tot!
10. Nun muss es hier von uns geschehn
11. Von jetzt an will ich deine Schwester sein
12. Orest! Orest! Es rührt sich niemand
13. Ich habe ihm das Beil nicht geben können!
14. He! Lichter! Lichter!
15. Elektra! Schwester! komm mit uns!
16. Sie fahren dahin wie die Schärfe des Schwert
10. Nun muss es hier von uns geschehn
11. Von jetzt an will ich deine Schwester sein
12. Orest! Orest! Es rührt sich niemand
13. Ich habe ihm das Beil nicht geben können!
14. He! Lichter! Lichter!
15. Elektra! Schwester! komm mit uns!
16. Sie fahren dahin wie die Schärfe des Schwert
Customer Reviews
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5.0
Based on 1 review
✓ Top Reviewer
United States
Liane Synek is a thrilling Elektra!
When I saw that Andy had described this as "Extended Excerpts" I had to get it if only to hear what he meant. In fact, about 85% of the opera is here. What's missing? The opening scene for the five maids and the Overseer and the meeting of Elektra and Orest, The music picks up just as Synek is beginning the monologue after her recognition of her brother. A pity the performance isn't complete because it's white hot. Synek is simply thrilling. Her soprano is steady from top to bottom and that top is enormous. She holds the high C at the end of "Was bluten muss?" longer than Strauss indicated, but given the visceral thrill Synek provides, so what? Nor does she just emit lovely sounds, but is fully into her role. Natalie Hinsch-Grondahl (Bayreuth fans will remember her as the Gutrune in the Krauss/Keilberth Ring cycles of 1953) easily matches both Resnik and Dalis as Andy mentions above. Her laughter at is hair-raising; her offstage screams are terrifying too, but I suspect someone else did them for her as the timbre doesn't match Hinsch-Grondahl's voice (I could be wrong about this!). Annemarie Leber is a beautiful Chrysothemis with exciting high notes. The men are equally good, sounding exactly like their parts should sound. The sound (a house tape?), though boxy and limited in dynamic range, favors the voices. Not a first choice Elektra by any means, but this performance is certainly worth having.
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