Strauss, R: Elektra

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[Gergiev] conveys passions and tensions with compelling, sometimes deafening power...[Charbonnet is] strongly involved without, thankfully, overplaying the weirdness...[Palmer's Klytaemnestra... — BBC Music Magazine, September 2012, 3 out of 5 stars More…

Release Date: 2nd Jul 2012
Catalogue No: LSO0701
Label: LSO Live
Length: 1 hour 48 minutes

Presto Recording of the Week

9th July 2012

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Strauss, R: Elektra

Work length1:48:16

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$25.75

$29.95

Valéry Gergiev, Ekaterina Popova, Jeanne-Michèle Charbonnet, Matthias Goerne, Ian Storey, Olga Legkova, Angela Denoke, Dame Felicity Palmer, Ekaterina Sergeeva, Andrei Popov, Vuyani Mlinde, London Symphony Chorus, Tatiana Kravtsova, London Symphony Orchestra, Lia Shevtsova

"Wo bleibt Elektra?"

Track length6:09

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"Allein!"

Track length8:55

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"Elektra!"

Track length2:46

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"Ich kann nicht sitzen"

Track length6:18

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"Was heulst du?"

Track length2:04

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"Was willst du?"

Track length10:35

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"Ich habe keine guten Nächte"

Track length11:00

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"Was bluten muß?"

Track length6:19

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"Orest! Orest ist tot!"

Track length3:13

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"Platz da!"

Track length2:59

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"Wie stark du bist!"

Track length3:27

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"Von jetzt an will ich deine Schwester sein"

Track length4:50

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"Nun denn, allein!"

Track length1:13

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"Was willst du, fremder Mensch?"

Track length8:28

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"Orest!"

Track length11:33

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"Seid ihr von Sinnen"

Track length4:00

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"He! Lichter!"

Track length4:41

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"Agamemnon hört dich!"

Track length3:51

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"Wir sind bei den Göttern"

Track length5:55

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Recording of the Week, Richard Strauss round-up

9th July 2012

Elektra from Valery Gergiev and the London Symphony Orchestra, Die Frau ohne Schatten from the 2011 Salzburg Festival, and the Four Last Songs from Anne Schwanewilms.

Valery Gergiev conducts Strauss’ 'Elektra', one of the most powerful operas in the repertoire, accompanied by a superlative cast. Premiered in 1910 at Covent Garden, under the baton of Sir Thomas Beecham, 'Elektra' showcases many, of what were at the time, modernist techniques such as dissonance, chromaticism and fluid tonality but also some of his finest writing. The one-act Greek tragedy was reconstructed by Hugo von Hofmannsthal, and his adapted text forms the libretto for the opera. The drama centres around Elektra and her determination to avenge her father’s death. The themes of death, violence, sexual repression and revenge are omnipresent.

American soprano Jeanne-Michèle Charbonnet is recognised as a leading force in German and contemporary music repertoire and a great singing actress.

Angela Denoke and Dame Felicity Palmer both possess outstanding pedigrees in Strauss' opera. They are joined by outstanding Lieder specialist Matthias Goerne, making one of his rare forays into operatic repertoire.

Reviews

September 2012

[Gergiev] conveys passions and tensions with compelling, sometimes deafening power...[Charbonnet is] strongly involved without, thankfully, overplaying the weirdness...[Palmer's Klytaemnestra is] the real star of this show, slicing through Gergiev's sound-wall with incisive diction and keen characterisation: she's neurotic, malevolent but far from the conventional Germanic witch. Ian Storey makes Aegisth's few lines at once fatuous and menacing.

October 2012

Gergiev has the LSO sailing through metre- and key-changes with almost effortless fluidity, and Strauss's dramaturgical acumen has never seemed clearer...Charbonnet generates plenty of manic excitement with her ultra-aggressive vibrato but...there are many signs of considerable theatrical intelligence; at times her conviction triumphs over her own voice...Goerne is the one vocal marvel here: his Orestes has nobility and morality

July/August 2012

one feels a distinct frisson with the arrival of Klytaemnestra...Caricature is totally eschewed; however tortured Klytaemnestra may be, Palmer maintains an innate regality in her vocal presence...[Goerne's] text is penetratingly delivered...Storey offers a heroic voice as Aegisthus, for a change, with all the notes truly sounded...One can tell that the LSO rejoices in playing this music...Any Elektra enthusiast will want to hear Goerne and the magnificent Palmer.

9th July 2012

I loved [Charbonnet's] take on the title role. She sounds truly unhinged at times...Palmer puts in a suitably malevolent turn as Elektra’s mother, Klytaemnestra...This is certainly the best-played Elektra I can think of, with blistering trumpets fearless in their high register, and much impressive detail in the woodwind.

1st July 2012

This exciting reading is worth a try, if not a classic

9th July 2012

Gergiev grasps the Wagnerian intensity of the score, also capturing the Straussian extremist tendencies with thrilling impact. Thrusting playing by the LSO helps.

20th July 2012

Gothic glory lies in the London Symphony Orchestra’s playing: visceral in impact, full of details usually lost in an opera house pit...Charbonnet doesn’t have enough heft at the top for the increasingly unhinged Elektra: the compensation comes in her commitment and passion.

classicalsource.com July 2012

if vocal discipline is not Charbonnet’s strong suit that may be a virtue in this role...It is difficult to find any faults in Felicity Palmer’s classic Klytämnestra...she is always scrupulously musical and no thoughts of caricature invade one’s attention...[Storey creates] an individual sound for the character of Ägisthus..[Goerne] falls not far short of Dietrich Fischer-Dieskau in establishing a dark, mysterious presence at his entry

Strauss, R: Elektra

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Recording of the Week, Richard Strauss round-up

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