Strauss;Richard Elektra [Import]

This is the best Elektra on DVD; especially good as an introduction to this opera. Here's why:

Elektra is a psychological drama usually difficult for beginners to "get into." This is chiefly because, traditionally, our Elektras have been older, established singers, but this very middleaged look makes it very hard for viewers to identify with the young Elektra who has been imprisoned by her mother and stepfather.

In this production we see Eva Johansson who is a much more age-appropriate Elektra. She has a wonderful voice, strong enough to be heard above Strauss' dynamic orchestral statements, yet soft and expressive when the score calls for it. Additionally, Johansson has here a wild, piercing stage presence--exactly what is called for in a successful Elektra.

The other singers are similarly appropriate. Marjana Lipovsek has done the opera before and makes for an excellent evil, yet guilt-ridden Klytamnestra. Alfred Muff is a more convincing Orestes than many previous. He really seems ready to go "do the deed" to punish mom and stepdad.

At first, I was a little worried by the non-traditional staging. Usually Elektra has been staged in a dungeon or cave-like stage, but this one features many doors, presumably leading to other areas of the palace. The costuming, and occasional partial nudity are also a change from the usual drab, "one-size-fits-all" burlap bags usually associated with productions of this opera. It all works! Finally, we have a good first experience with Elektra!

Other things to look for:

the beautiful, yet electifying "recognition scene," where Elektra's head swims dizzily, as she sees that her prayers are answered: Orestes has returned. This scene is typical Strauss, as Orestes says, "the dogs in the yard recognize me but my own sister doesn't."

Strauss' musical magic is there when Elektra cries out to her dead father about the dogs that "licked your feet and went hunting with you." There is a less-than-three-second musical evocation of dogs whining. This is just typical of Strauss' ability to create musical imagery.

The only criticism I would have is of the subtitle which translates "Scham" as "shame." The proper (and usual) translation is "modesty," and this is critical to Elektra's situation. She is telling Orestes how, in order to survive, she has given up even her modesty, to the point that her own brother could not recognize her.

If you've never seen Elektra before, this is a good introduction. If you're already familiar with it, you'll approve of this production.

My first exposure to Elektra was in 1953 with the San Francisco Opera Company; I was lucky enough to see it both in San Francisco and Los Angeles. The cast was truly legendary: Inge Borhk, Margarete Klose, Ludwig Suthaus and Paul Schoeffler. Also making his debut was Solti. I believe Ellen Faull (sp?) was Chrysothemis. I can't say that I knew the opera since it was hardly common currency. And although I was very young I certainly responded to the singing (notably Borkh and Klose) as well as the acting. Borkh had orginally trained as a stage actress and it showed; Klose simply poured out molten tones of liquid gold and was a commanding presence.

Since we don't have singers of this quality around today we can hardly duplicate that level of singing. This new DVD is worth investigating for variety of reasons although the level of singing wouldn't be one of them. My first exposure to Eva Johansson was as Eva in the Deutschoper production of Meistersinger. She was quite charming and vocally up to the rigors of this opera, but I didn't I could hear an Elektra in her. Well, she certainly delivers dramatically and, I suppose, could best be described as a "kunst" diva. Fortunately during the recognition scene she sings quite beautifully; would that her Orest (Alfred Muff) could match her. He is adequate, no more. The Clytemnestra is Marjana Lipovshek; dramatically she is exciting and her monologue is riveting, but the voice is threadbard and worn. Considering that she has spent the last twenty years singing very heavy roles it is hardly surprising. But there is no question that she is thoroughly inside the role. The Chrysotemis is Melanie Diener; quite the most meliflous voice in the cast, but a compelling actress as well.

The only truly outre touch that struck me a utterly bizarre was at the end when a group of what looks like Follies Bergere dancers make a brief appearance. I have no idea what the point being made is, and it certainly is not a deal breaker as regards making a decision whether to buy it or not but it is strange.

The DVD competition for this opera is small: Marton at Vienna State Opera in a Kupfer production that conservative Vienna boos. I like Kupfer's work at Bayreuth but this must is not on the level as his Ring. By the time that Nilsson recorded it (DVD, that is) she is not flattered by the camera and her laser-like voice is frequently off pitch. Viewed as a historical document it is worth having since it also includes Rysanek. The Rysanek is a film and I must confess I found little to enjoy. I understand the last Met outing with Beherns (1994) is in the pipeline. Although Behrens (like Johanssen is a voice or two too small she was very exciting; the DVD will also include Fassbender's Clytemnestra and Voigt's Chrysotemis (pre weight loss--a pity that we couldn't have had Mattila); the production is traditional but a good one. Do I have to make a choice? Well, I've made one, obviously, but I will get the Behrens when it becomes available. One can never have too much Strauss--Richard, that is.

TDK has released a new DVD of an Elektra captured in Zurich

from December 2005. It is a total success.

This opera is one in which a design team can revel. They

can go to the absolute max here in matching Strauss's

tortured music. To my mind, the opera can be made

contemporary to any degree, and ideas to convey its

darkness can be endless. Leonie Rysanek

once stated she did not care for a traditional Classical

Greek setting for the piece, and I agree.

The setting looks to be a combination brothel and insane

asylum, sinister, austere and menacingly closed-in. The

floor has no even footing; it is all precariously un-level,

bumpy and dangerous.

The theme of this production is sex, debauchery and

depravity in its most shockingly unleashed fashion, and

it's exhilarating; no holds barred here, all sacred taboos

are turned loose - to devastating effect. Definitely rated

NC-17. The director, Martin Kusej, does a smashing job of

utilizing the busy production and conversely, playing up

the interpersonal confrontations in a very intimate way. Unlike the other reviewers here, I enjoyed this fresh, original interpretation; it would be easy (but unfair) to label this as Eurotrash. The opera is about trashed values, and its controversial view suits this staging well.

Aiding him in this is the superb cast, and Christoph von

Dohnanyi, the conductor: he brings staggering texture,

drama and tension to the score. The audio is unprecedented

in its clarity, as is the picture. In DVD, opera has found

its perfect "synthetic" medium.

Eva Johannson, a Danish soprano new to me, pulls out all

the stops dramatically and vocally. Looking like a cross

between a young Eva Marton and Karita Mattila, she gives a

searing portrayal. Her energy is positively demonic, a

woman possessed. Dressed in bag-lady-rehab sweat-street

clothes, this Elektra is a visual and audio powerhouse. The

voice is lean, has edge, and is huge. I would not call it

classically beautiful, but Elektra simply cannot be sung by

Janowitz-type voices. This baby's gotta have balls.

Johansson does, in spades. There is at the outset a little

trouble with the mittelage, but grows in strength by

leagues as the evening goes on; the "was bluten muss" is

shattering, and it pleasantly stings the ear. The high C is

nailed like few others have done. The tone cuts, is steady,

and she sings with tireless, unstinting abandon. What a joy

it is to hear such an absence of strain, no wobble, no

screeching. Johansson is particularly good at the baleful

expression, whose looks can really zing those darts, but

the "Orest!" is shimmeringly lyrical and reposed. Johansson

carries on the illustrious Varnay-Nilsson-Jones lineage

magnificently. Anyone who can command this role without

self-combusting earns my highest respect; after Jones

retired, it seemed unlikely that this generation could

produce such a worthy successor, but Johansson may well be

the Elektra of this time.

Melanie Diener's shining Chrysothemis matches Johansson all

the way, singing with refulgent, unforced tone. Marjana

Lipovsek's Klytamnestra, a puffy, over-made-up near-drag

queen is worthy of the best of them.

The ending is a surprise, not the usual, and it works; I'll

leave it for you to find out, or I can spoil it for you

privately. Let's just say Elektra proves to be stronger

stuff than you might expect (and if she can stand what

she's had to face in the past...that which does not kill

you only makes you stronger).

The rest of the parts are up to the high level elsewhere.

No need to elaborate further, as this triumphant production

does Strauss-Hoffmansthal proud.

Best of all, this release renews for me the genius of this

evocative, colorful score - the language of music doing

what spoken word could not possibly match.

If you love Elektra, and need an extra dose of depravity to

match a mood you may be in, this will do the job

beautifully. You won't find a better depiction of

"tormented souls."