Elektra (R. Strauss) - in concert - Zschau, Voigt, Randova 1993
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- čas přidán 21. 08. 2012
- ELEKTRA
BBC Promenade Concert
Royal Albert Hall, London
16th July 1993
BBC Symphony Orchestra
BBC Singers
c. Andrew Davis
Elektra: Marilyn Zschau
Clytemnestra: Eva Randova
Chrysothemis: Deborah Voigt
Orestes: Willard White
Aegisthus: William Cochran
Tutor/Old Servant: Peter Sidhom
Confidante: 4th maid: Helen Walker
Overseer/Train Bearer: Phyllis Cannan
Young Servant: Robert Burt
Maid 1: Ann Howard
Maid 2: Anne Mason
Maid 3: Gillian Knight
Maid 5: Judith Howarth - Hudba
The more I watch this, the more i fall in love with Zschau.
WHAT THE F*CK THAT WAS AMAZING
Sensational Zschau. Sensational Richard Strauss opera. Sensational BBC orchestra and conductor Andrew Davis. Thank you for uploading this magnificent record of an unforgettable night of opera. Lovers of Richard Strauss' operas are deeply indebted to you.
this music is out of the world ....breathtaking...it sounds so modern and is over 100 years old....Richard Strauss is and was a tru genius thx to all singers ( specially Deborah Voigt.. and Marilyn Zschau ..and the orchestra and conductor.....what a wonderful performance...
Never seen nor heard anything like this... 7:17 - 16:07 ... the exertion of the entire live performance... 1:42:17... would have killed most performers... the physical exhaustion you see. Boom ... 11:01 :D
I want Deborah Voigt's voice to be the last thing I hear before dying of sword wounds in a courtyard. What a legend.
I`ve just discover this procuction and I am shocked !!! The voices are tremendous ; Marilyn Zschau has a powerful range with a voice of mezzo. Deborah Voigt is stunning and shines strongly all through her soprano voice. The orquestra blow my head , all the metals and zimbals and tubas !!! It`s all breathtaking and I`ll watch it a million times !!!!
Marilyn Zschau’s hair should have been part of the cast.
Does somebody else think that those timpanists are spectacular? It's a pleasure to watch them playing with such intensity.
Closer to the camera, John Chimes on 1st timpani (now retired from the BBCSO after 40+ years of a glorious tenure but still regular timpanist with the Chamber Orchestra of Europe). Perhaps Christopher Hind on 2nd timps. John is famous for his dynamic, spectacular and confident syle of playing, always leading the rest of the orchestra to an exciting performance.
one very lucky audience!!!
IN LOVE WITH Marilyn Zschau!!!!!!!!!!!!!!!
Love Randova.
When Marilyn Zschau came on at the beginning sounding like a bass my heart sank
By the time she had reached the end of her opening monologue she was glorious
What a complete magical performance
Brava
I'm diehard for the Behrens Met Elektra, but this is amazing. I never saw Zschau before--impressive.
Zschau, Voigt and Randová are heavenly!
Zschau is spell-binding and magnificent.
Voigt at 1:38:34 that glorious sound ringing out! The singers are wonderful, the Elektra admirable & brave, but the orchestra is the real star of this performance
The music was tailor made for that Rolls-Royce of a voice!
Deborah was ON FIRE in this!
This is just glorious. The whole cast is perfect.
What a Goddess!!!!! Brava Zschau!!!!!!!!!!!!
Opera Presentation of the Titans !!!!!!!!!!! Bäääm !!!
This is a Supernova of Opera 😱😵
I had the great pleasure in singing and working with both Ann Howard and Marilyn Zschau. I sang with Ann at Opera North in Hansel and Gretel (I as Peter and she as the Witch!) - what a glorious singer she was who would later become a dear friend!
In my view Marilyn Zschau in Attila was the finest Odabella I have ever heard, she is the only Soprano who had the measure of both Odabella's first arias, the Scena e Cavatina in the Prologo - 'Allor che i forti corono' - and then in Atto Primo, the very difficult pianissimo Scena e Romanza - 'Oh! nel fuggente nuvolo'. I had the honour of singing Ezio with her in a production of 'Attila' in Paris where she tore up the scenery in the first aria and cabaletta and then with great stillness, she sat and gave us all a masterclass in bel canto pianissimo singing in the second aria ... What I call 'grown up opera singing'! What gal!!
Ah, memories, memories ... John Rawnsley.
John Rawnsley Are you still active Sir?
"ELEKTRA: Very long symphonic poem with vocal accompaniment." I attended the 2008 Seattle Opera production and was left emotionally spent, weeping, and physically shaking at its conclusion. What an experience! The orchestra---essentially the Seattle Symphony---was superb, as is the BBC Symphony in this rendition. Was there ANYTHING Richard Strauss couldn't elicit from an orchestra?
Voigt steals the show.
I loved it, I did not know that this existed. I think that I prefer this style of Opera presentation to the latest avant garde style where the nonsense on stage rules. As if it the music needed theatrical visuals disregarded of the story line. This people made an excellent presentation. The nice Sub-titles on queue made me understand the drama clearly and to enjoy it better. Close ups to dye for and glorious singing. Full sound quality very good too. This simple and direct kind of presentation should be the future of opera.
I agree 💯%
Zschau's interpretation is one of the greatest, the most amazing achievements in Opera History!!!
MZ’s Elektra is one of the greatest operatic achievements perhaps, one of the less recognized for sure.
We are lucky to have it preserved for history.
ELEKTRAFYING ... ...
Andrew Davis is really superb in this. When he is on fire, he has always been up with the best today.
Stunning performance, especially Zschau, of a true 20th century masterpiece. And magnificent playing by BBCSO under Davis.
Stupendo spettacolo, vedo ed ascolto quest'opera molto spesso. Questa versione in concerto è veramente bella, senza leggii, sedie e con una mogilità ed espressione teatrale simile a quando si è in scena in costume. Bravi tutti.
the great dramatic american sopra
no,mariliyn schauz!!brava!!brava!!
taken the difficult task of singing
the role of elektra,a orchs dramatic
soprano role par excellence!!extremely difficult to sing.i saw
her years ago in tosca at the met
with pavarrotti,she was terrific!!then with domingo and milnes at
the met central park concerts in
tosca again,she was equal to them
i also saw her at the met in die frau
ohne shatten by.strauss,singing
the role of barack wife!!she was
terrific!!fantastic!!a great dramatic
soprano!!
What singing, what artistry. Bravissimi tutti.
Voight, wow!!!!
wow I just realized that as soon as Clytemnestra and Aegisthus are murdered, the music becomes much less dissonant, as if Orestes has returned order to the house [despite the fact that his own problems are just beginning as far as the myth goes]
ELEKTRA NEEDS TO BE SEEN LIVE IN A GOOD SEAT FOR THE EMOTIONAL IMPACT FILMED PERFORMANCES LACK
Fantastic! Marylin Zschau is WOW-very convincing, the intensity ! sends shivers down your spine! Thank you for sharing!
Deborah Voigt is inspired and inspiring. Andrew and the band were in great form as well. I hope this recording has a long life on You Tube, its worth a lot of visits.
I love this big solid mezzoi dramatic soprano...
Wow - Randova is fantastic. '93 time of big hair, robe and jewels 😀
Zschau - WOW !
Nice comments everybody but the orchestra deserves special mention, it is outstanding as it has to be just to get through this amazing score!
Marilyn and her hair almost upstaged everyone.
Notes On Camp: everything Marilyn Zschau is doing here
I agree. She's so embarrassing to watch.
Yes. And it’s incredible!
Maryline Zschau une performance …Époustouflante !!! ♥️♥️♥️
Amazing performance, I wish I were there!
Zschau, Voight, Randovà, wow which three stars ! Electrifying last scene !!! ❤
Wow! Le chef et l’orchestre sont en feu!! Et je redécouvre Voigt. Que la voix était belle, à l’époque! Et ce soir-là elle chantait comme si sa vie en dépendait. Peut-être l’une de ses meilleures soirées… Zschau est à fond, mais il y aurait beaucoup à redire. Elle donne souvent l’impression d’éructer sa partie plutôt que de la chanter. Et l’émission est très globale, pas assez focalisée à mon goût.
Grandiose Splendide !! Electra époustouflante émouvante..convaincante dans sa vengeance ♥️♥️♥️
This is what Voigt used to sound like.
This is f***ing excellent
1:26:42 Chills every time.
yes, nobody can sound as terrifying, "fin de siecle"-decadent as Richard Strauss at his best.
Amazing, amazing, amazing
Phenomenal
OKAY THIS IS SO COOL IM AN OPERA SINGER (I'm only 15 right now but want to do it professionally) AND MY NAME IS ELEKTRA (this isn't my CZcams account) AND IF I DO NOT GET CAST AS HER IN THIS I WILL HAVE FAILED AT EXISTING
That makes me so happy that you're so enthusiastic! :D As for singing Elektra professionally, I would just wait and see what your fach ends up being once you've trained and have finished growing... singing outside of one's fach can put an end to one's career, especially when singing roles heavier than what your voice can do healthfully.
Josh Thomas True, she's not an opera singer in the sense that singers who don't perform in operas aren't opera singers (such as Andrea Bocelli. Sings arias, but definitely is not an opera singer, no matter how well loved he is.), but no need to smother a dream.
Josh Thomas What a horribly cynical thing to say to an enthusiastic youngster. We need more of her in this business, not less. Shame on you.
Let me wish you the very best of luck in your dream; however, it's not many people that are called by God to be classical singers, and especially in this opera - it's so exceedingly challenging as to daunt the overwhelming majority even of the dramatic sopranos who get called upon to perform it. That's the major reason why they're reluctant to perform it quite complete - which however can testify as to what can be an ultimate test of courage and stamina to perform this work. If you one day indeed end up performing it, please bear my challenge (of performing it totally UNCUT, both live and on any recordings) in mind.
I don't want to kill your enthusiasm or to turn you off classical-singing in the slightest; however, if it happens that you end up doing something else in your life (or even if you succeed in your dream to get on-stage in opera, that you end up doing other works instead), whatever you do, please, DON'T think that you'll have failed in your existence!!!! Try to welcome whatever and wherever God Sends you: He Knows FAR BETTER as to why He Sent you here on this earth.
Again, please don't be discouraged - and if things don't work out, PLEASE DON'T THINK of yourself as a failure, period!!!! God Bless and Keep you in the Palm of His Hand.
runawayitschloe Glad to hear about your ambitious plans! It's great that young people are interested in classical music. But I'd hold off on Elektra until your voice is fully mature; it's known as a very tough role to sing.
I hope for you that you will do it. BTW, what a nice name, Elektra! And it reminds me that I once bought a used record of "Arabella", on which there was an inscription: "Arablla fuer Tim. Arabella. [A girl named Arabella gave the Arabella opera to her boy as a gift].
Fantastic performance! Marilyn Zschau was a great Elektra (I saw her way back at NYC Opera), and Deborah Voigt was at her peak. I've seen some great Elektras in the theater (Nilsson, Jones, Behrens, Polaski, Goerke, Stemme), all great in their own way.
Электра бесподобна спасибо
Não é só as vozes incriveis e sim a atuação também.
Fascinating how Strauss handels the revenge part. I do not know football language but Strauss hits the revenge part in such a precision that Lionel Messi could be proud of. In few minutes Strauss scores twize. Hallelujah! No goool! Compared to Elektra what is heavy music? Hairless farts drawing dirty pictures on school toilet walls? Marilyn Zschau. Not the precision Swedish laser cannon (Nilsson) has but anyway really memorable. Many thanks!
Marilyn Zschau to me is the perfect Elektra, stunning looking woman, fantastic facial expressions and a great voice, there you have the whole package. Enjoy this video, see it several times, it grows more and more on you.
Enjoyed very much. Thanks for posting
Excellent! C'est tellement intense, on n' a pas besoin, plutôt, on n' a pas du tout envie d' être distrait par une mise en scène! Zschau, Randova, White, Voigt époustouflants! Bien filmé. Orchestre et chef superbes. Merci!
Amazing vids, good talent brilliant show, Wonderful!
Voigt is the real star here. Incredible incredible incredible !!
It's interesting that Strauss created such an aggressive musical part for Chrysothemis - it's both an opportunity for Chrysothemis to totally out-sing Elektra with those glorious high Bs, but also the reality of Chrysothemis not getting her due as she's not the title role. Again... Voigt is so so so incredible here.
Not taking anything away from glorious Voigt but the opera is called Elektra for a reason. I saw Voigt in great voice singing this opera with an Elektra sung by a third rate cover and it was frankly boring.
I find MZ amazing as well.
costumes and sets are amazing !!!!!!!! looks just like Attica or peloponezzia or sumfing!! such a lusty good thromp !!
Amazing
Sublime
Marilyn Zschau is unbelievable! One of the strongest Elektras ever.
I agree: concert performances mean you do not get distracted and can concentrate on the music and the singing. Thanks for putting this up. I remember the prom being scheduled, but was unable to go. I had to wait until 2013 to see it staged at the royal opera house. The ending resembled a zombie movie with Orestes wondering about the stage with lots of dead bodies. I would have preferred to see this proms performance! This is a really wonderful performance.. Voigt is superb.
I love you, Marilyn!
bravi a tutti!!
Zschau is very good. Why did we not hear more of her?
Singers retire .I saw EVA MARTON Sing ELEKTRA she is also retired.
We were oversaturated with very good opera singers at the time.
@@mjc5509I also saw Eva Marton as Elektra. It was in Washington DC about 25 years ago. She was awesome.
I meant 30 years ago.@@mjc5509
@@mjc5509and Molly I have a 😅😮😅pp
레전드 무대 !!
Richard Strauss was greatly inspired by the new wave of romantic composers, Berlioz, Liszt and Wagner.
Zschau's german vowels is not that nice but she is really breathtaking in her stage presence and sheer power.
Bravo, Cochran!
one of the most wonderful musical version, when debora voigt was large size, she had so woderful voice until a stupid regisseur pushed her to change her body and she lost her amazing voice...
Ma quanto era brava Deborah Voigt?♥️
1:26:46 This is pretty intense too.
It is truly a disgrace that the 'traditional' theater cuts in this masterpiece have survived for so long. Any hochdramatisch capable of singing the title part should have no problem encompassing the cut sections, which occur in the Elektra-Klytämnestra scene, and in the second Elektra-Chrysothemis scene. There are also minor cuts in the music for Klytämnestra and Chrysothemis. These cuts are most damaging to the architecture of the score, especially in the second scene between the two sisters, where the long buildup to the climactic cry of 'Sei verflucht' can only be properly gauged and paced if the cuts are opened. Whomever is responsible for this distortion of Strauss' intentions has much to answer for. It is tragic that only two singers, Nilsson and Marton, have been recorded note-complete in the part. We will never have the opportunity to hear a complete Elektra from such starry exponents of the role as Rose Pauly, Gerda Lammers, Gertrud Grob-Prandl, Astrid Varnay, Inge Borkh, Amy Shuard, Ursula Schröder-Feinen or Pauline Tinsley. Sad.
I believe this to be part of Karl Boehm's legacy. He was notorious for his cuts; said they were okayed by RS. Hmmm.
Jason Hurd sorry, Jason. I disagree. The Elektra/Klytemnestra duet uncut is simply too difficult for any live performance. Even WITH the mercy cuts, every single soprano in the history of “live” Elektra performances, every one, make it through the “was bluten muss” section only with difficulty. That includes the best of them-Nilsson, Borkh, and Varnay. Some, including Konetzni and Mastilovic left out the C on “jaucht” in order to make it to the final Bb on “freun”.
I’m not a lover of cuts, but cuts in this opera (and Tristan und Isolde) are a relief. Cuts in Lucia bother the hell out of me.
Zschau scares the shit out of me... Not sure if in a good way or a bad way, lol
26:55
49:15
1:23:57
1:32:41 Brutal
Das Highlight war nicht Elektra, sondern Chrysothemis. Hört das Publikum das nicht???
Ich hatte die große Ehre Deborah Voight auf der höhe ihrer Stimme mehrmals in der Deutschen Oper berlin erleben zu dürfen! Sie war einfach absolute Weltklasse - ein Schrank voller Nachtigallen - wirklich eine ganz, ganz große Stimme! Nun hat sie sich für die Gesundheit und gegen das Übergewicht entschieden, und ich kann es ihr nicht verübeln, aber die schlanke Debbi hat einfach nicht mehr die Stimme, die sie einst hatte.
Orest 1:15:23
Zschau and Randova are unbeatable in their artistic commitment - making Voigt's performance seem only superficially appealing to me.
There are some exciting but some suboptimal moments also. Mrs. Zschau is quite sloppy with the pronunciation in the leading part and sometimes/often vocally overstrained. I heard many famous Elektras but there was only one single soprano with all fulfilling wishes for this special part in my opinion: Deborah Polaski. She was born to gave a nearly ideal for this very special role. But no war about my personal opinion, please :) Each it´s own.
All Chapeau to Deborah Voigt, she´s amazing and the true star here.
Voigt à cette époque était sublime. Et maintenant, après les Wagner...?
bloody score, bloody singing, bloody story. mature listeners only.
I wish Corelli did sing Aegisth...
I had the misfortune to see Zschau attempt to sing this most demanding role ion Los Angeles'; it was not a triumph but the spectacle of a wanna be spinto with delusions of a true dramatic soprano, e.g., Nilsson, Varnay Borkh. Even observing the usual cuts there are many high C's and the battle with the orchestration. The only redeeming feature of the evening was the great Leonie who by that time was singing Klytemnestra even though her usual role was the sister. She did record it for Unitel in a very regie staging. She was wise enough to know what was apt for her voice and what was notl. As a result she had a long and distinguished career. Zschau on the other hand was willing to sacrifice her career for what she must have hoped would be more than a footnote--if it is even that.
Sorry, the tempo sounds disgustingly quick, although it's not really that quick. Some electricity to this Electra would justify that pace.
overwelming.
dont listen to this after the Birgit version voight was good but the elektra a a big woolly voice with no focus couldnt hear any diction
Let's not get carried away: while it's nice to have this performance recorded (and yes, I'm so TOTALLY DISGUSTED by what stage-directors are doing to opera nowadays as to shun any and all staged performances, period!!!!), it's still not the very best imaginable.
First and foremost, I'm bitterly disappointed that the rôles of both Elektra and Klytämnestra are cut, especially the former, Perhaps when it's staged it may be too much for the singers; however, in concert performances and recordings I'd truly wish to insist upon not one single bar being omitted. [Only Georg Solti and Wolfgang Sawallisch managed to record this opera quite complete - the cut portions may not be all that long, but they really are BRUTAL!!!] That immediately downgrades a performance by at least one star out of five.
Second, I wish that more orchestral detail was audible - it's as if this was taped from a radio or TV broadcast. I've heard far better quality broadcasts from the Royal Albert Hall than this. Consequently, much of the fine performance of the BBC SO under Andrew Davis doesn't get to make its full impact.
Third, with a concert performance, I deeply feel that more focus on the instrumentalists is to be desired - why should the singers have so much attention?
All in all, 3½/5 (remember, 1 star is automatically lost when this opera is cut).
I prefer Nilsson and Rysanek.
Gwyneth Jones also did a really good Elektra with Rysanek. She has a foghorn of a voice. Also Fassbaenders Klytemnestra was really good.
STRAUSS A GOOD COPIA OF RICHARD WAGNER!
I always wonder how singers manage this learn this unmelodic, unstructured stuff by Strauss. Wagner is a lot more singer-friendly.
In fact Strauss is much more singer-friendly than Wagner. What is easy to listen to is no necesarily easy to sing. Strauss knew exactly how to write for specific voices. It may sound difficult to the ear, but technically it is very rewarding to sing.
Wagner on the other hand can be pure murder for your vocal chords.
@@Quotenwagnerianer Strauss' string writing is more difficult and complicated than Wagner's, but easier to play because it is so idiomatic.
I always wonder too. how they do that ?
I think both of them are extremely difficult, but in different ways
GOk, a few minutes is enough, great comedy though, had a good laugh, what theack is this, do people really take this seriously, a bunch of whining people, but thanks anyway, incredible crap like this exist 😂.
Uncultured ignorant…
1:26:30