I saw in my study time many performances of Sinopoli at the Semperopera, he was extremely gifted for the romantic repertory. I´ll never forget the serie of Strauss "Frau ohne Schatten" with Inga Nielsen as Empress and Sabine Hass in a kind of hurricane-interpretation as Barak´s wife. She died before she should sing Elektra with both of them there. Now are these three artists deceased, it´s very sad. This video means so much to me, what a moving memory. Tremendous performance. Thank you so much!!
¡Muchísimas gracias! Un documento enorme y precioso. Grande Sinopoli, la orquesta y todos los solistas. Elektra no es una de mis obras preferidas de Richard Strauss, pero interpretaciones como éstas dejan pasmados. La reacción del público ahorra comentarios. Ojalá sigan apareciendo filmaciones de conciertos de Giuseppe Sinopoli, como éstos. Nuevamente, muchas gracias.
Not to put down your comment - Dresden is obviously top notch in this repertoire, but It's virtually impossible not to include the Vienna Philharmonic in that comment , especially when it comes to Strauss. The composer himself was in awe of the orchestra and its unique sound. In fact Sinopoli recorded Elektra with Vienna and it's absolutely stunning. Both orchestras have the longest Strauss traditions and are historically tied to the composer. Do listen to Vienna playing Rosenkavalier (Kleiber, live 1994) Böhm and Solti conducting Salome studio and live, Frau ohne Schatten and Elektra with Böhm. The Böhm Elektra with Inge Borg and Dresden is likewise among my favorites. Listening to VPO play Strauss live at the Staatsoper is an absolute must. Cheers.
I heard that Karajan, despite conducting Elektra with Strauss' compliments, stopped performing it for similar reasons. The opera left him emotionally and physically exhausted after each performance.Thank you for posting this!
Karajan was contracted with Deutsche Grammophon to record Elektra in studio, but his death prevented it. He was also slated to record Norma with Cuberli and Fidelio with Barstow, but alas...
@@jasonhurd4379 Speaking of studio Elektras... supposedly there is a recording of the work with Abbado and Jessye Norman, a recording she herself did not want to be published. Do you know anything about that?
@@SatanAteMySocks that is true. I heard that it's rumoured that she had it blocked because she didn't like how her high notes sounded. Jessye Norman never had any real performable high C's, but I would think that in the studio, it would be doable.. I guess we will never hear it unless it's released
@@baritoneblazzin1965 Norman's C6s in the 1975 studio recording of Weber's Euryanthe are extremely thin and shallow. It doesn't help that Rita Hunter is singing Eglantine, and lets out a beautiful C6 in her Act I aria. I heard Norman live on several occasions, and she always struck me as stilted and artificial, with a voice that was not suited to the repertoire she tried to 'sing'. I saw her do the Immolation scene with the San Francisco Symphony, and it looked like she was lip-synching to a silent vocal track.
@edwardamosbrandwein3583 yes, it was convincing in the middle voice, but she was fighting for her life on the high notes & those 2 big top Cs were far too thin to convey the drama.
FIERCE side-eye from La Nielsen at around 50:00 after La Hass belts out an impeccable high A, high C, high B flat that closes Elektra's narration to her Mother as to how she will be murdered. So sad to think that both of these estimable artists have left us, and long ago too. :-( Thank you for posting this. Best wishes from Turkiye. :-)
But i have to notice, that Inga Nielsen did different times side-eyes to her partner Sabine Hass around this moment and finished after this very difficult singing moment for Elektra with a smile. I have heard Sabine Hass many times and everyone reacted in the audience in the same way: a smile after when she attacked the strong notes directly, merciless and always totally secure with huge volume. Both singers were collegial and have appreciated each other.
What a MONSTROUS pity that the performance fails to include the 6 or 7 portions which all too often get cut at the behest of the singers of the rôles of Elektra and Klytämnestra!!! The moment that happens, such a performance immediately loses 1 star out of 5. VERY SAD as it happens that here we have a good recording of what's otherwise a very fine performance...
@@hrh4961 Truly complete but IMO one of Solti's worst opera recordings. Supposedly impressive and well-cast, it misses on the essential thread (esp the 3/4 Klytemnestra section) and the general lyrical flow escapes him. Sawallisch is IMO the more 'Straussian' performance. WIth an infinitely better Klytemnestra (Resnik, like Stolze as Mime, was encouraged by Culshaw and Solti to caricaturize) and Chrysothemis.
Nur weil jemand (fast) alle hohen Töne einer Elektra singen kann, heißt das noch lange nicht, dass er geeignet für die Partie ist. Ich habe Hass viele Male als Chrysothemis gehört und sie war wunderbar. Als Elektra fehlt auch ihr das, was viele nicht haben: die hochdramatische Stimme. Sinopolis Dirigat ist ein Traum, ebenso das Orchester.
Da muss ich wirklich widersprechen, und dies ist auch eine Aussage, die sämtliche Kollegen, mit denen zu singen ich die Ehre hatte, und Professoren an den Musikhochschulen, die über Sabine Hass gesprochen haben, die Köpfe schütteln ließe, sollten sie Ihren Kommentar lesen. Weil wirklich jeder von Sabine Hass im letzten Teil ihrer Karriere vor ihrem tragisch frühen Krebs-Tod als das gesprochen hat, was sie dann war: ein hochdramatischer Sopran. Laut Sinopolis eigenen Worten auch sein bevorzugter. Selbstverständlich war sie letztendlich hochdramatisch nach langem Reifeprozess. Im Laufe ihrer Karriere hat sie sich zu einem solchen entwickelt. Ein Sopran wird höchstens mit dem Potential zum hochdramatischen Fach geboren und muss sich die Technik, die Stamina und die Reife behutsam erschließen im Laufe der Karriere, dies auch bewältigen zu können. Das ist keine neue Erkenntnis. Selbst die ganz großen Namen haben spät und behutsam angefangen, dieses Fach sich langsam zu erobern. Wir müssen nun wirklich nicht die Biografien großer hochdramatischer Soprane des 20. Jahrhunderts durchkauen oder sie um Zitate bemühen, um zu belegen, dass sie sich durch die Rollenfächer langsam und stetig entwickelt haben.
Sinopoli just doesn't understand Elektra because he keeps breaking the line by this laboureded stop-start mannerism which breaks the flow and tension; no idea at all; too pristine, too smoothed out, too streamlined 'too nice' ('civilized); singers are sub-standard as well...
He cannot resist getting in the way, poor guy, recomposing perhaps; Böhm, on the other hand, barely disturbs the flow of the irresistible river, to great effect (like Strauss’ own conducting)
'Klytaemnestra'-'Felicity Palmer'.
'Elektra'-'Sabine Hass'.
'Chrysotemis'-'Inga Nielsen'.
'Aegisthus'-'Wilfried Gahmlich'.
'Orestes'-'Alfred Muff'.
'Staatskapelle Dresden'.
'Giuseppe Sinopoli'.
Tokyo,'Suntory Hall',I 1995
I saw in my study time many performances of Sinopoli at the Semperopera, he was extremely gifted for the romantic repertory. I´ll never forget the serie of Strauss "Frau ohne Schatten" with Inga Nielsen as Empress and Sabine Hass in a kind of hurricane-interpretation as Barak´s wife. She died before she should sing Elektra with both of them there. Now are these three artists deceased, it´s very sad. This video means so much to me, what a moving memory. Tremendous performance. Thank you so much!!
🎹 Wow! The Clytemnestra is awesome and Sinopoli and the band are spot on! What a superb performance! 🎹
GRANDE MAESTRO SINOPOLI PER SEMPRE NEL MIO CUORE!
Felicity Palmer is simply stunning! Her diction is amazing and she actually "sings" the role and doesn't speak it.
A stunning performer - how many singers have sung the whole gammut from Klytemnestre to Katisha with equal aplomb!
And Pamina! She was a glorious young soprano when I first encountered her!
¡Muchísimas gracias!
Un documento enorme y precioso.
Grande Sinopoli, la orquesta y todos los solistas. Elektra no es una de mis obras preferidas de Richard Strauss, pero interpretaciones como éstas dejan pasmados. La reacción del público ahorra comentarios.
Ojalá sigan apareciendo filmaciones de conciertos de Giuseppe Sinopoli, como éstos.
Nuevamente, muchas gracias.
When it comes to this piece, no other orchestra is better than Staatskapelle Dresden.
Just fantastic. Bravi!
Not to put down your comment - Dresden is obviously top notch in this repertoire, but It's virtually impossible not to include the Vienna Philharmonic in that comment , especially when it comes to Strauss. The composer himself was in awe of the orchestra and its unique sound. In fact Sinopoli recorded Elektra with Vienna and it's absolutely stunning. Both orchestras have the longest Strauss traditions and are historically tied to the composer. Do listen to Vienna playing Rosenkavalier (Kleiber, live 1994) Böhm and Solti conducting Salome studio and live, Frau ohne Schatten and Elektra with Böhm. The Böhm Elektra with Inge Borg and Dresden is likewise among my favorites. Listening to VPO play Strauss live at the Staatsoper is an absolute must. Cheers.
Absolutely! The Wiener Philharmoniker ties the Staatskapelle Dresden as the best players of this monumental score.
Staatskapelle Dresden has always had that kind of unreplicable unique lush sound
Felicity Palmer is the standout of this performance. Hass is much better than I remember.
The best orchestra for R. Strauss.
I heard that Karajan, despite conducting Elektra with Strauss' compliments, stopped performing it for similar reasons. The opera left him emotionally and physically exhausted after each performance.Thank you for posting this!
Karajan was contracted with Deutsche Grammophon to record Elektra in studio, but his death prevented it. He was also slated to record Norma with Cuberli and Fidelio with Barstow, but alas...
@@jasonhurd4379 Speaking of studio Elektras... supposedly there is a recording of the work with Abbado and Jessye Norman, a recording she herself did not want to be published. Do you know anything about that?
@@SatanAteMySocks that is true. I heard that it's rumoured that she had it blocked because she didn't like how her high notes sounded. Jessye Norman never had any real performable high C's, but I would think that in the studio, it would be doable.. I guess we will never hear it unless it's released
@@jasonhurd4379 that's a pity but Barstow is one of the worst singer ever
@@baritoneblazzin1965 Norman's C6s in the 1975 studio recording of Weber's Euryanthe are extremely thin and shallow. It doesn't help that Rita Hunter is singing Eglantine, and lets out a beautiful C6 in her Act I aria. I heard Norman live on several occasions, and she always struck me as stilted and artificial, with a voice that was not suited to the repertoire she tried to 'sing'. I saw her do the Immolation scene with the San Francisco Symphony, and it looked like she was lip-synching to a silent vocal track.
Thanks :0) I love this performance so much. Though you can see here why Sinopoli was finished so soon... He puts his whole life into it.
Wonderful rendition !
Thanks
Incredible I knew Sabine unforgetable Sente but didn't know she also sang Elektra and a real great one too
これをNHK-FMで放送した
私は録音して、繰り返し聴きながら総譜をお勉強しました
Wow! Love Felicity!
Felicity Palmer is the best interpreter of Klytämnestra of all editions on TH-cam and and not only.
I love Hass, but Elektra is beyond her FACH (Chrysothemis suits her kind of voice)
@edwardamosbrandwein3583 yes, it was convincing in the middle voice, but she was fighting for her life on the high notes & those 2 big top Cs were far too thin to convey the drama.
FIERCE side-eye from La Nielsen at around 50:00 after La Hass belts out an impeccable high A, high C, high B flat that closes Elektra's narration to her Mother as to how she will be murdered.
So sad to think that both of these estimable artists have left us, and long ago too. :-(
Thank you for posting this. Best wishes from Turkiye. :-)
But i have to notice, that Inga Nielsen did different times side-eyes to her partner Sabine Hass around this moment and finished after this very difficult singing moment for Elektra with a smile. I have heard Sabine Hass many times and everyone reacted in the audience in the same way: a smile after when she attacked the strong notes directly, merciless and always totally secure with huge volume. Both singers were collegial and have appreciated each other.
it's because La Hass didn't actually make the high C (she's flat) - but that C is not easy because Strauss asks you to approach it from an F#
白熱、集中力の演奏会
サントリーホール
ドレスデン歌劇場
CDになったウィーン版よりもライブの熱狂がある
Sabine wir werden Dich nie vergessen
Sabine Hass. RIP.
What a MONSTROUS pity that the performance fails to include the 6 or 7 portions which all too often get cut at the behest of the singers of the rôles of Elektra and Klytämnestra!!! The moment that happens, such a performance immediately loses 1 star out of 5.
VERY SAD as it happens that here we have a good recording of what's otherwise a very fine performance...
I didnt know it about those portions, can you recommend me some complete version?
Sawallisch
@@kedemberger8773 And Solti, I think.
@@hrh4961 Truly complete but IMO one of Solti's worst opera recordings. Supposedly impressive and well-cast, it misses on the essential thread (esp the 3/4 Klytemnestra section) and the general lyrical flow escapes him. Sawallisch is IMO the more 'Straussian' performance. WIth an infinitely better Klytemnestra (Resnik, like Stolze as Mime, was encouraged by Culshaw and Solti to caricaturize) and Chrysothemis.
There is one more I just discovered: Bychkov with Deborah Polaski and the WDR Orchestra Cologne (not the live concert version but the 2004 recording).
thank you so much :)
Nur weil jemand (fast) alle hohen Töne einer Elektra singen kann, heißt das noch lange nicht, dass er geeignet für die Partie ist. Ich habe Hass viele Male als Chrysothemis gehört und sie war wunderbar. Als Elektra fehlt auch ihr das, was viele nicht haben: die hochdramatische Stimme. Sinopolis Dirigat ist ein Traum, ebenso das Orchester.
Da muss ich wirklich widersprechen, und dies ist auch eine Aussage, die sämtliche Kollegen, mit denen zu singen ich die Ehre hatte, und Professoren an den Musikhochschulen, die über Sabine Hass gesprochen haben, die Köpfe schütteln ließe, sollten sie Ihren Kommentar lesen. Weil wirklich jeder von Sabine Hass im letzten Teil ihrer Karriere vor ihrem tragisch frühen Krebs-Tod als das gesprochen hat, was sie dann war: ein hochdramatischer Sopran. Laut Sinopolis eigenen Worten auch sein bevorzugter. Selbstverständlich war sie letztendlich hochdramatisch nach langem Reifeprozess.
Im Laufe ihrer Karriere hat sie sich zu einem solchen entwickelt. Ein Sopran wird höchstens mit dem Potential zum hochdramatischen Fach geboren und muss sich die Technik, die Stamina und die Reife behutsam erschließen im Laufe der Karriere, dies auch bewältigen zu können. Das ist keine neue Erkenntnis. Selbst die ganz großen Namen haben spät und behutsam angefangen, dieses Fach sich langsam zu erobern. Wir müssen nun wirklich nicht die Biografien großer hochdramatischer Soprane des 20. Jahrhunderts durchkauen oder sie um Zitate bemühen, um zu belegen, dass sie sich durch die Rollenfächer langsam und stetig entwickelt haben.
6:08 - Allein! weh, ganz allein
ライブの白熱と集中力がある演奏
ＣＤかダウンロード販売してほしい
can anyone provide the complete cast?
この年 阪神大震災があり演奏の前に黙祷した気がする。
演奏がはじまり 椅子から転げ落ちそうになった。
鬼籍にはいっちまうなんてなしのやん
On stage, Elektra has the same problems as Isolde... most of interpreters seem in fact Elektra's grandma. Here it is no exception.
Same as Salome, Turandot, etc 😅 Young if not teenaged ropes, but a young singer would probably be torn apart trying to sing this.
So weird that Jeanne-Michele Charbonnet is listed but I don't see her
Silfredo Serrano she must have been really young at that time, could be one of the maids or small roles my guess?
Staatskapelle Dresden
Good.
30:18
アヴェ・マリア
私は19世紀ドイツ音楽を無知
リヒャルト・シュトラウスはこうした引用が得意
name of the orchestra?!
Would bé much more interresting with a stage direction.
3:24あたりが
シューベルトのアベマリア
1:15:12 orest
***** I have heard much worse - even here on YT!
Sinopoli just doesn't understand Elektra because he keeps breaking the line by this laboureded stop-start mannerism which breaks the flow and tension; no idea at all; too pristine, too smoothed out, too streamlined 'too nice' ('civilized); singers are sub-standard as well...
He cannot resist getting in the way, poor guy, recomposing perhaps; Böhm, on the other hand, barely disturbs the flow of the irresistible river, to great effect (like Strauss’ own conducting)
Horrible Chrysotemis. Best thing one can say about her is very weak top notes and no substance to the voice.
Hers is focused and well sung voice.
What do you mean by substance?
Wobble and fake darkened woofy voices?
Underpowered in every element.
Are opera singers trained to wear garbage?
Der Fremde are you garbage? Ok