Usually despatched in 4 - 5 working days. (Available now to download.)
NB This performance deploys a number of cuts - two in the Elektra/Clytaemnestra scene, two in the Elektra/Chrystothemis scene and one in the Recognition Scene
This historic recording of Richard Strauss’s opera Electra comes from a production from Hamburg in Germany in 1944. It is performed by a high-class cast including the soprano Erna Schlüter in the title role and the alto Gusta Hammer as Clytomnestra. The Hamburg State Philharmonic Orchestra and Chorus of Hamburg State Opera are directed by the legendary conductor Eugen Jochum.
The Hamburg Opera House always set great store by the presentation of the latest works. As early as 1907 it staged the first performance of Richard Strauss’s Salome and in 1909 that of the same composer’s Elektra. This tendency to put on new compositions was retained after both world wars, and in Hamburg Richard Strauss found an especially keen cultivation of his works, many of which he conducted there himself.
Richard Strauss: Elektra, Op. 58, TrV 223
Wo bleibt Elektra? (Maids, Overseer)
Allein! Weh, ganz allein (Elektra)
Elektra! – Ah, das Gesicht (Chrysothemis, Elektra)
Es geht ein Larm los (Elektra, Chrysothemis)
Was willst du? Seht doch, dort! (Klytamnestra, Elektra, Confidante, Trainbearer)
Ich habe keine guten Nachte. Weisst du kein Mittel gegen Traume? (Klytamnestra, Elektra)
Lasst du den Bruder nicht nach Hause? (Elektra, Klytamnestra)
Was bluten muss? Dein eigenes Genick (Elektra)
Orest! Orest ist tot (Chrysothemis, Elektra)
Platz da! Wer lungert so vor einer Tur (Young Servant, Old Servant, Elektra, Chrysothemis)
Nun muss es hier von us gescheh'n (Elektra, Chrysothemis)
Was willst du, fremder Mensch? (Elektra, Orest)
Orest! Orest! Orest! Es ruhrt sich niemand (Elektra, Orest, Tutor to Orest)
Ich habe ihm das Beil nicht geben konnen … Es muss etwas geschehen sein (Elektra, Chrysothemis, Maids)
He! Lichter, Lichter! Ist niemand da, zu leuchten? (Aegisth, Elektra)
Helft! Morder! Helft dem Herren! (Aegisth, Elektra, Chrysothemis, Chorus)
Wir sind bei den Göttern, wir Vollbringenden (Elektra, Chrysothemis)
October 2012
“By any standard, the Hamburg cast is at a high level. Jochum's approach is dominated by nervous rhythm and a general sense that the opera occupies a unique sound world in the composer's output. One major drawback is that the orchestra seems somewhat recessed...As historic recordings go, though, this one isn't just a valuable document, but offers plenty of pleasure; this particular incarnation of it sounds as good as any.”
“this performance is not quite complete. There are a number of ‘standard’ cuts...[Schlüter] has the required volume and most of the top notes.... She also has a rich voice which well encompasses all the facets of this most demanding of writing...Gusta Hammer as the murderous mother is also a force to be reckoned with...Jochum’s conducting is very well controlled but has plenty of emotion and passion where required”
“Here’s a cast of German singers, all of whom have the means—vocal and dramatic—to get on with their jobs authoritatively and musically...[Schlüter] sings Elektra’s music with absolute command, projecting power when necessary and managing some disarming tenderness...Kupper’s Chrysothemis is soaring and invigorating; the marvellously-named Gusta Hammer is supremely expressive as Klytemnestra, no caricature”
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Wo bleibt Elektra? (Maids, Overseer)
