Strauss, R: Elektra

Opus Arte: OA1046D

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Strauss, R: Elektra


Opus Arte

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Release date:

1st Nov 2010




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Strauss, R: Elektra

Recorded live at Festspielhaus Baden-Baden 29 Jan, 1 & 4 Feb 2010

Linda Watson (Elektra), Jane Henschel (Klytämnestra), Manuela Uhl (Chrysothemis), René Kollo (Aegisth), Albert Dohmen (Orest), Andreas Hörl (Orest’s tutor), Jörg Schneider (A young servant), Carsten Sabrowski (An old servant) & Irmgard Vilsmaier (An overseer)

Vienna Philharmonic Choir & Munich Philharmonic Orchestra, Christian Thielemann (conductor) & Herbert Wernicke (stage director)

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Conducted by Christian Thielemann, this performance was the sensation of the 2010 Baden-Baden Festival. A one-act masterpiece inspired by Greek mythology, it is a dense, jagged cry for justice and vengeance. With its powerfully expressive chords, spooky waltz rhythms and mad dance of triumph, it shakes the audience to the core. Herbert Wernicke’s legendary production for the Bayerische Staatsoper stands out for its clear lines, classical structural elements and striking colour contrasts. Linda Watson, one of the great Wagnerian sopranos of today, superbly masters her role debut as Elektra, one of opera’s most demanding roles.

Extra features: Cast gallery

Running time 1 hour 40 mins

Region Code All regions

Picture format 16:9 Anamorphic

Sound format 2.0LPCM + 5.1(5.0) DTS

Menu languages EN

Subtitles EN/FR/DE/ES

International Record Review

March 2011

“Watson has physical stature, an expressive face...the necessary intelligence and a suitable instrument, which is saying a great deal in this most formidable of roles...[Henschel] makes a capital Klytämnestra, lavishing lovelier tone on the role than it usually receives...Never do Christian Thielemann and the Munich Philharmonic overwhelm the singers: they make chamber music, in effect, with no bombast whatever”

BBC Music Magazine

April 2011


“Perhaps taking its cue from Electra's repeated cry of 'Allein!' ('Alone!') the production presents all its characters as both alone and alienated from one another...Possibly in reaction to the statuesque starkness of the staging, Thielemann seems to want to tone down the score's mythic violence and tease out its moments of human (essentially womanly) warmth.”

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