Richard Strauss - Elektra 2012

Richard Strauss - Elektra, Tragödie in einem Aufzuge(Dresden, 1909), Libretto: Hugo von Hofmannsthal
The Netherlands Opera DNO, Netherlands Philharmonic Orchestra, Marc Albrecht

Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2012
Жанр: Classical/Opera
Издатель (лейбл): Challenge Classics
Продолжительность: 01:42:56
: Буклет PDF
Marc Albrecht
The Netherlands Opera (De Nederlandse Opera)
Soloists:
Klytämnestra: Michaela Schuster
Elektra: Evelyn Herlitzius
Chrysothemis: Camilla Nylund
Aegisth: Hubert Delamboye
Orest: Gerd Grochowski
Der Pfleger des Orest: Tijl Faveyts
Die Vertraute: Iris Giel
Die Schleppträgerin: Hiroko Mogaki
Ein junger Diener: Pascal Pittie
Ein alter Diener: Jan Alofs
Die Aufseherin: Elaine McKrill
Erste Magd: Helena Rasker
Zweite Magd: Lien Haegeman
Dritte Magd: Astrid Hofer
Vierte Magd: Anja van Engeland
Fünfte Magd: Lisette Bolle
Toonkunst Choir Amsterdam
Netherlands Philharmonic Orchestra Amsterdam
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.1, 2.0
Доп. информация: Challenge Classics CC72565 (2012), Live Recordings (2011)
Release Date - 19th Nov 2012
: AnnabelLee (PS³SACD)
challengerecords/products/1343045249

Треклист
Треклист:
DISC 1
[1] “Wo bleibt Elektra?” (Erste Magd, Zweite Magd, Dritte Magd, Vierte Magd) 6:24
[2] “Allein! Weh, ganz allein” (Elektra) 9:40
[3] “Elektra!” (Chrysothemis, Elektra) 2:24
[4] “Ich kann nicht sitzen und ins Dunkel starren” (Chrysothemis, Elektra) 8:39
[5] “ Was willst du! Seht doch, dort!” 4:34
(Klytämnestra, Elektra, Die Vertraute, Die Schleppträgerin)
[6] “Ich will nichts hören!” (Klytämnestra) 5:01
[7] “Ich habe keine guten Nächte” (Klytämnestra, Elektra) 6:29
[8] “Wenn das rechte Blutopfer unterm Beile fällt” (Elektra, Klytämnestra) 4:27
[9] “Was bluten muß?” (Elektra, Klytämnestra) 2:13
[10] ”Lichter!” (Klytämnestra, Elektra) 1:44
[11] “Orest! Orest ist tot!” (Chrysothemis, Elektra, Junger Diener, Alter Diener) 3:06
[12] “Platz da!” (Junger Diener, Alter Diener, Elektra, Chrysothemis) 2:59
[13] “Wie stark du bist!” (Elektra, Chrysothemis) 4:45
DISC 2
[1] “Nun denn, allein!” (Elektra, Orest) 1:21
[2] “Was willst du, fremder Mensch?” (Elektra, Orest) 6:48
[3] “Wer bist denn du?” (Orest, Elektra) 2:09
[4] “Orest!” (Elektra, Orest) 8:56
[5] “Du wirst es tun? Allein?” (Elektra, Orest) 3:07
[6] “ Ich habe ihm das Beil nicht geben können!” 2:25
(Elektra, Chrysothemis, Vier Mägde, Sechs Dienerinnen)
[7] “He! Lichter! Lichter!” (Aegisth, Elektra) 4:11
[8] “Helft! Mörder!” (Aegisth, Elektra) 1:14
[9] “Elektra! Schwester!” (Chrysothemis, Chor) 3:29
[10] “Wir sind bei den Göttern” (Elektra, Chrysothemis) 3:44
[11] “Schweig’, und tanze” (Elektra, Chrysothemis) 2:16
[12] Applause 0:47

Об альбоме (сборнике)
This recording of Richard Strauss’s opera Elektra by De Nederlandse Opera (The Netherlands Opera) was made in November 2011 at the Amsterdam Music Theatre. In addition to an impressive cast, it features the Netherlands Philharmonic Orchestra and the Toonkunst Choir Amsterdam conducted by Marc Albrecht.
The Netherlands Opera (DNO) is the Netherlands’ largest opera company and is based in The Amsterdam Music Theatre. It has grown into one of Europe’s most prominent and progressive opera companies under the leadership of artistic director Pierre Audi and managing director Truze Lodder. Since the 2011-2012 season Marc Albrecht has been the chief conductor of both DNO and the Netherlands Philharmonic Orchestra/Netherlands Chamber Orchestra. Marc Albrecht is known for his interpretations of works by Wagner and Richard Strauss, and of contemporary music, and has been a guest conductor with many top orchestras including the Berlin Philharmonic, Munich Philharmonic, Royal Concertgebouw Orchestra, City of Birmingham Symphony Orchestra, and the Chamber Orchestra of Europe.
Richard Strauss’s opera Elektra received its world premiere on January 25th 1909 in the Hofoper in Dresden. Despite being based on ancient Greek mythology, the opera is highly modernistic and expressionist in style, and shocked audiences at the time with its raw, brutal and bloodthirsty approach to its subject.
prestomusic
Furious, Angry Elektra from the Netherlands.
This surprise entry into the by-now crowded Elektra discography deserves attention. Recorded live in Amsterdam during October, 2011, it’s a tight, wiry show, driving Strauss’ phenomenal score to its inevitable conclusion like a thoroughbred. The peaceful interlude of the Recognition Scene rarely has seemed so poignant, so necessary, so earned by Elektra, who, of course we know, still has some trouble ahead of her. The Netherlands Philharmonic Orchestra is led by Marc Albrecht, the newly appointed head of the Netherlands Opera, and it bodes well for that institution: he’s thrilling and in control, and while he holds nothing back, he doesn’t try to drown the singers in sound. (The fine recording helps tremendously, but one can tell.) The performance picks us up and will not let go-it’s a tidal wave of convulsions.
In the title role, Evelyn Herlitzius begins with one or three slightly wavering tones (I assume sopranos don’t warm up much before this role) but is at full throttle by the end of her monologue; she gains in strength and subtlety as she goes along and paints a portrait of a woman so obsessed that she’s frightening (Albrecht’s refusal to let her rest does wonders for the loony quality). Her initial interview with Chrysothemis is tinged with nastiness; she’s horrifically sarcastic with Klytemnestra; she is pleading and seems almost to convince her sister in their second scene, and so lovely and helpless with Orest that she’s heartbreaking. Her high C at the end of Klytemnestra scene is laser-like in its intensity, and her diction throughout is superb. Forget about the occasional imperfect note.
Camilla Nylund, hardly a small-voiced Chrysothemis, has a brilliant, easy top and a nice, human way about her predicament-a perfect foil for Elektra. Manuela Schuster sings every note of Klytemnestra’s music, and we can feel her confidence and arrogance slip until what she (wrongly) thinks is a victory; her laugh, as she leaves the scene, is up there with Regina Resnik’s on Decca under Solti. Gerd Grochowski’s Orest is strong yet loving and warm, and Hubert Delamboye is a finely drunken Aegisth. The maids are a bunch of nasty Valkyries.
This is among a bevy of fine recordings of this work on CD: the Nilsson/Solti on Decca must take first place, but Jochum leading the crazed Erna Schlüter on Acanta (from 1944) is dynamite, and the Borkh/Böhm still thrills. But this one will not disappoint.
Artistic Quality: 9
Sound Quality: 9
classictoday
…If there’s such a thing as an anti-Solti Elektra, this is it…[it] burns at its own distinctive temperature, with a strong sense of live-performance through-line and in a much more orchestrally integrated approach…because the performances does all the right things, you reach the end emotionally but not aurally exhausted.
gramophone.co.uk
….[Herlitzius’s] lean, bright, penetrating soprano may not be as alluring as those of famous recorded Elektras…but her mastery of the notes and the text, and her understanding of both the ferociously vindictive and the tender aspects of the character’s psychology, are so complete that she rivets attention from start to finish…A must for Straussians.
sunday times