Strauss.....Elektra......Nilsson......it doesn't get and never ever will get any better than these THREE together:-))) I saw here live as Elektra as a music-student in Hamburg/Germany at the State-Opera and never missed a performance.....the one and only:-)))) thx for posting
@@crazyorganist1609 Sadly, you are correct. Some come close and I mean REALLY close but that is the nature of true artistry. There will never be another. There will only ever be one. It is that fact that makes Operatic Legends.....LEGENDARY!
Absolutely agreed. I thanks to Mr. Strauss in my comment. I always remember to all of my friends and music lovers at the end of the performances, never forget the composer, which without him this music will never exist...
Any composer who could write masterpieces like Elektra, Salome, and the beautiful Der Rosenkavalier, plus many more glorious works, should be recognized as one of the greatest opera composers.
The staging for this Sasso brilliant and tight. Every gesture was so effective and one could have had a little bit more real dancing from Nilsson but it worked so well. Both voices past their best sounded a bit flat but this is a glorious performance.
It's fairly shocking that the soundtrack to this performance sounds as if it's recorded from another room! Is it that the set didn't allow for proper microphone placement, or was it that Nilsson didn't want her voice miked closely, fearing comparisons with her younger, fresher voice in the role? Surely someone could find a way to restore the sound to a more present aspect?
I think the live Met recordings from this era were much more sympathetic to voices than the ones that are made today. Today, the bigger voices are made to sound tiny, and the smaller voices are made to sound huge.
Elektra's last sentence is: "Schweigen und tanze". But I can hear only ...und tan... and then nothing, That last note for the role must a very difficult one, I have noted many sopranos face difficulties there. Alas, even Nilsson seems unable to sing it properly. Strauss was probably a little sadistic when asking for such a note after 100 minutes of extreme effort.
That note is in the middle voice, and the orchestra is blaring. I think it falls under the category of either 'no one cares' or 'Strauss didn't care.' I think Nilsson would usually just not sing it, not just here, but also during her prime years. Varnay however sing it as a High B (rather than a middle F#). Insofar as it is a problem, that seems like a good solution.
She sings it really well in the studio recording with Solti. Talk about strong chest voice. But after a whole elektra, it's hard to have the strenght to do it
I was there for one of these. Their voices peeled the paint and their acting chewed the scenery. Great memory!
Strauss.....Elektra......Nilsson......it doesn't get and never ever will get any better than these THREE together:-)))
I saw here live as Elektra as a music-student in Hamburg/Germany at the State-Opera and never missed a performance.....the one and only:-)))) thx for posting
Awesome!!!
Elektra, Strauss, Nilsson y esta función en particular... INOLVIDABLE!!!!!
Nilsson, a force of nature
EIN KLASSE FÜR SICH ❤️🌹
These two ladies could fill the universe with their combined sounds. And this is over the heavy orchestration.
The film quality is very much better than what we had originally.
What kind of words can i say after such glorious ending...Music is the only way...Thank you so much Mr. Strauss and my dear Birgit. 😃 ❤️
I mean let's be honest...THIS is how it's done!!!!!!
It absolutely is. Unfortunately no sopranos like Nilsson exist anymore
@@crazyorganist1609 Sadly, you are correct. Some come close and I mean REALLY close but that is the nature of true artistry. There will never be another. There will only ever be one. It is that fact that makes Operatic Legends.....LEGENDARY!
Awesome.
Yes the singing is glorious. But let’s give credit to Strauss the score is just so good.
absolutely right .....Strauss is the greatest composer of the 20 th. century...
Absolutely agreed. I thanks to Mr. Strauss in my comment. I always remember to all of my friends and music lovers at the end of the performances, never forget the composer, which without him this music will never exist...
Any composer who could write masterpieces like Elektra, Salome, and the beautiful
Der Rosenkavalier, plus many more glorious works, should be recognized as one of the greatest opera composers.
Also worth mentioning is the greatly talented Hugo von Hofmannsthal who wrote the libretti for several of Strauss operas.
The staging for this Sasso brilliant and tight. Every gesture was so effective and one could have had a little bit more real dancing from Nilsson but it worked so well. Both voices past their best sounded a bit flat but this is a glorious performance.
You want more dancing from a woman in her 60’s who just sang the whole of ‘Elektra’?!
@@ransomcoates546 , vorrei una Nilsson assolutamente ferma ma che canti oggi così.
It's fairly shocking that the soundtrack to this performance sounds as if it's recorded from another room! Is it that the set didn't allow for proper microphone placement, or was it that Nilsson didn't want her voice miked closely, fearing comparisons with her younger, fresher voice in the role? Surely someone could find a way to restore the sound to a more present aspect?
Nilsson complained about this set being no help to the singers. It was open at the back, where usually there is a palace wall to reflect the voices.
I think the live Met recordings from this era were much more sympathetic to voices than the ones that are made today. Today, the bigger voices are made to sound tiny, and the smaller voices are made to sound huge.
Elektra's last sentence is: "Schweigen und tanze". But I can hear only ...und tan... and then nothing, That last note for the role must a very difficult one, I have noted many sopranos face difficulties there. Alas, even Nilsson seems unable to sing it properly. Strauss was probably a little sadistic when asking for such a note after 100 minutes of extreme effort.
That note is in the middle voice, and the orchestra is blaring. I think it falls under the category of either 'no one cares' or 'Strauss didn't care.' I think Nilsson would usually just not sing it, not just here, but also during her prime years. Varnay however sing it as a High B (rather than a middle F#). Insofar as it is a problem, that seems like a good solution.
She sings it really well in the studio recording with Solti. Talk about strong chest voice. But after a whole elektra, it's hard to have the strenght to do it
Btw, how many notes are there in this opera ?
@@karilamminpaa8987 many
MAGISTRALMENTE GENIAL!!!.....