I have heard and read people saying it is not in Mozart's style. Well, well... I couldn't care less... Behrens was simply amazing! Her rendition is pure drama and pure Mozart
All the big Wagner singers sing at least 1 Mozart role. For Birgit and Gweneth it was Donna Anna. Nina Stemme, Jessye Norman, and Deborah Voight sang the Contessa. Anja Silja sang the Queen of the Night. Hildegard chose to sing Elletra. Interesting note, she sang both Elletras, Mozart's and Strauss'.
Birgit also sang Mozart's Elettra, early in her career, at Glydenbourne with Leopold Simoneau and Sena Jurinac. Soon after she sang her first Salome in Stockholm. But it was Donna Anna, which you've mentioned, that was probably her most famous Mozart role.
I had the absolute pleasure of seeing this particular production at the Met and it was simply amazing. Hildegarde Behrens brought it and had the audience on their feet. Brava Diva!!!! RIP.
Everyone has said it already - Behrens had a strange technique that didn't always serve her voice. But she is such a compelling musician and actress that all that nonsense can be forgotten. The important thing is to communicate something to the audience, and Behrens always gave 100% commitment to her portrayals.
Ms. Behrens was perfect for this role. She portrayed Elettra as an unstable presence from the beginning (the frizzy red hair certainly helped!). Pavarotti was a superb actor and it was interesting to see him in a role that was not the romantic lead. Frederica von Stade (not Tatiana Troyanos as I originally wrote) was wonderful and made a convincing appearance as the male lead. Illeana Cotrubas as Illia looked and sounded young and "girlish" in the part.
Agree with everything you say. Note: Frederica von Stade sang Idamante, not Tatiana Troyanos. Perhaps you are thinking of the Ponnelle film of La Clemenza di Tito, in which Troyanos sang Sextus.
@@jasonhurd4379 Thank you for the correction! von Stade and Troyanos are both such excellent artists in their own right. I don't know why I have a tendancy to confuse them.
Ah no, il germano Oreste ne' cupi abissi io vuò seguir, or or compagna m'avrai là dell'inferno, a sempiterni guai, al pianto eterno. D'Oreste, d'Aiace ho in seno i tormento, d'Aletto la face già morte mi dà. Squarciatemi il cuore Ceraste, serpenti, o ferro il dolore in me finirà
OMG: who cares if there are 8 notes that don't speak and she is stylistically over the top! She's amazing! And the staccatti were not nearly as bad as I have heard from others. Brava!
Behrens may have been the ideal for Wagner/Strauss than Mozart but if it's like they say: if you can make it at the Met, you can make it anywhere. Five stars
I totally agree with your opinion. Hildegard was not a Mozartean as she did not studied in Vienna to learn Mozart's bravura/coloratura arias which are filled with raging emotions and rapid changes of the keys from low to high.
Credo che desiderasse dei ruoli meno spezzettati. In Mozart, come nel Settecento e in alcune cose dei primi Ottocento, in genere erano due arie, un duetto e un finale. Non gli era sufficiente. Certo, l'avrebbe cantata meglio di qualunque altra e con risultati che conosciamo. Behrens non mi piace. Non e' adatta, fatica.
Excellent acting and such strong communication, a great actor and amazingly well sung. Brava in every way.
I have heard and read people saying it is not in Mozart's style. Well, well... I couldn't care less... Behrens was simply amazing! Her rendition is pure drama and pure Mozart
I agree. I like to think that Mozart would be thrilled to death to see what Behrens was able to do with this role.
THIS
@@davidwelch8288, lo sarebbe stato di piu' se lo avesse cantato al suo posto la Callas.
hildegard behrens .1937-2009
I will always love and miss her...
All the big Wagner singers sing at least 1 Mozart role. For Birgit and Gweneth it was Donna Anna. Nina Stemme, Jessye Norman, and Deborah Voight sang the Contessa. Anja Silja sang the Queen of the Night. Hildegard chose to sing Elletra. Interesting note, she sang both Elletras, Mozart's and Strauss'.
Birgit also sang Mozart's Elettra, early in her career, at Glydenbourne with Leopold Simoneau and Sena Jurinac. Soon after she sang her first Salome in Stockholm. But it was Donna Anna, which you've mentioned, that was probably her most famous Mozart role.
Behrens also sang Fiordiliggi, if i am not wrong
@@gualtierocofresi Behrens sang Elettra, the Contessa, Fiordiligi and Donna Anna. A superlative artiste.
I also saw the great Brunnhilde, Rita Hunter as Donna Anna.
Nilsson also sang Elettra in Idomeneo.
Norman sang Fiordillgi, Contessa and Donna Anna.
like her so much rest in peace diva
I had the absolute pleasure of seeing this particular production at the Met and it was simply amazing. Hildegarde Behrens brought it and had the audience on their feet. Brava Diva!!!! RIP.
vnessie1 I was there too. Magical
This performance was my introduction to "Elettra"...it's STILL memorable for me! I long for a singer that can affect me in such away.
yes. this truly maddening! the acting is awesome! I would have been on my feet!👏👏👏👏👏👏
Everyone has said it already - Behrens had a strange technique that didn't always serve her voice. But she is such a compelling musician and actress that all that nonsense can be forgotten. The important thing is to communicate something to the audience, and Behrens always gave 100% commitment to her portrayals.
I feel like that too. She always enraptures me with her portrayals
Yes, I agree, she is my acting diva for this.
Love love this woman
WOW!! Brava!! This is why I go to the opera. A.MA.ZING!
Ms. Behrens was perfect for this role. She portrayed Elettra as an unstable presence from the beginning (the frizzy red hair certainly helped!). Pavarotti was a superb actor and it was interesting to see him in a role that was not the romantic lead. Frederica von Stade (not Tatiana Troyanos as I originally wrote) was wonderful and made a convincing appearance as the male lead. Illeana Cotrubas as Illia looked and sounded young and "girlish" in the part.
Agree with everything you say. Note: Frederica von Stade sang Idamante, not Tatiana Troyanos. Perhaps you are thinking of the Ponnelle film of La Clemenza di Tito, in which Troyanos sang Sextus.
@@jasonhurd4379 Thank you for the correction! von Stade and Troyanos are both such excellent artists in their own right. I don't know why I have a tendancy to confuse them.
The most visceral of all!!!
Wow the exclamation point in the title is well deserved! This is Behrens as Mozart's Elettra!!!!!!!!!!!!!!!!!
simplemente la mejor electra que se haya visto en mozart y en strauss tambien claro Brava Hidelgar!!!!
@teddydiva the highest note in the whole aria is the soprano C
Powerful, indeed!
Love Her in this Aria! She Kicks Major Ass! LOVE IT!!!
Ah no, il germano Oreste
ne' cupi abissi io vuò seguir,
or or compagna
m'avrai là dell'inferno,
a sempiterni guai, al pianto eterno.
D'Oreste, d'Aiace
ho in seno i tormento,
d'Aletto la face
già morte mi dà.
Squarciatemi il cuore
Ceraste, serpenti,
o ferro il dolore
in me finirà
OMG: who cares if there are 8 notes that don't speak and she is stylistically over the top! She's amazing! And the staccatti were not nearly as bad as I have heard from others. Brava!
Behrens may have been the ideal for Wagner/Strauss than Mozart but if it's like they say: if you can make it at the Met, you can make it anywhere. Five stars
Forse per il pubblico del Met. Alla Scala non credo.
I agree!!
Mozarts Elettra? That is new !
I believe its an A flat or high C...I dont have my score on me to check
sweetaztecangel69 Don't bother with the score. Just enjoy the performance.
What final top note? - there isn't one written.
I totally agree with your opinion. Hildegard was not a Mozartean as she did not studied in Vienna to learn Mozart's bravura/coloratura arias which are filled with raging emotions and rapid changes of the keys from low to high.
Peccato che Callas non piaceva Mozart, credo che questa sia una grande parte a la sua vocalità
Credo che desiderasse dei ruoli meno spezzettati. In Mozart, come nel Settecento e in alcune cose dei primi Ottocento, in genere erano due arie, un duetto e un finale. Non gli era sufficiente. Certo, l'avrebbe cantata meglio di qualunque altra e con risultati che conosciamo. Behrens non mi piace. Non e' adatta, fatica.
:O the stacatti indeed are awful.. but she is greaat
Horrible.
Lo siento su italiano es muy malo, la voz estridente.