Thank you for posting this! Scene 2: 6:02 Scene 3: 15:30 Scene 4: 25:46 (Klytemnestra/Elektra) Scene 5: 48:04 Scene 6: 58:36 Scene 7: 1:15:24 (Murder of Klytemnestra) Scene 8: 1:17:37 Scene 9: 1:22:05 Scene 10: 1:27:05
Indubitably, the best performer of this Elektra by several miles and of gold-medal standards is none other than Martha Mödl as Klytämnestra. How she navigates those deep chest tones are phenomenal and that has helped her to create these complex, troubled, ambiguous, and overall dark characters as well as preserve her voice for many years to come. In fact, Frau Mödl is up there as one of my favorite all-time singers of Klytämnestra to the point where she stole the show from Anny Konetzni's, Daniza Illitsch's, Hans Braun's, and Franz Klarwein's feet. I still love Anny Konetzni's dark and rich timbre, but she sounds past her prime, given that she does not hit the High Cs. Daniza Illitsch commits herself well as a singing actress, but her shrill tone is not helping with her interpretation of Chrysothemis. Hans Braun is a good Orest, although there have been better baritones and bass-baritones in that role. Franz Klarwein has a sufficiently strong technique as Aegisth and sings with abandon, thus making him an all-around fine tenor. I would definitely improve this cast by having Astrid Varnay as Elektra, Hedwig Müller Bütow as Chrysothemis, Hans Hotter as Orest, and Günther Treptow as Aegisth on board to join forces with Martha Mödl's Klytämnestra. That would have been the dream cast worth fighting for.
Die Kobetzni war da wirklich weit unter ihrem damaligen Standard, und die C habe andere auch nicht gesungen , wie die als Elektra oft eingesetzte Erna Schlüter …..
I don't understand why she didn't see reason and sang as dramatic mezzo, given the fact that she was a contralto at the outset of her career. I'm sure she would have been an effective Fricka, Herodias, Klytämnestra, but insisted on singing soprano roles, until Karl Böhm fired her from Vienna State Opera, which caused her a severe stroke from which she never recoverd until her early death.
@@haficammkft yes, I see you misunderstood my ambiguous phrasing: I meant she should have seen reason and switched back to dramatic mezzo parts, once the top register had completely disappeared.
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Thank you for posting this!
Scene 2: 6:02
Scene 3: 15:30
Scene 4: 25:46 (Klytemnestra/Elektra)
Scene 5: 48:04
Scene 6: 58:36
Scene 7: 1:15:24 (Murder of Klytemnestra)
Scene 8: 1:17:37
Scene 9: 1:22:05
Scene 10: 1:27:05
Mitropoulos owns this work!
Keep them coming!
Indubitably, the best performer of this Elektra by several miles and of gold-medal standards is none other than Martha Mödl as Klytämnestra. How she navigates those deep chest tones are phenomenal and that has helped her to create these complex, troubled, ambiguous, and overall dark characters as well as preserve her voice for many years to come. In fact, Frau Mödl is up there as one of my favorite all-time singers of Klytämnestra to the point where she stole the show from Anny Konetzni's, Daniza Illitsch's, Hans Braun's, and Franz Klarwein's feet.
I still love Anny Konetzni's dark and rich timbre, but she sounds past her prime, given that she does not hit the High Cs. Daniza Illitsch commits herself well as a singing actress, but her shrill tone is not helping with her interpretation of Chrysothemis. Hans Braun is a good Orest, although there have been better baritones and bass-baritones in that role. Franz Klarwein has a sufficiently strong technique as Aegisth and sings with abandon, thus making him an all-around fine tenor.
I would definitely improve this cast by having Astrid Varnay as Elektra, Hedwig Müller Bütow as Chrysothemis, Hans Hotter as Orest, and Günther Treptow as Aegisth on board to join forces with Martha Mödl's Klytämnestra. That would have been the dream cast worth fighting for.
❤❤
Exzellenter Klang!
Vielen Dank !
MODL quelques semaines avant Kundry pour la réouverture de Bayreuth en 51........
Voix immense et somptueuse de Konetzni qui avait malheureusement déjà perdu ses contre-ut.
Die Kobetzni war da wirklich weit unter ihrem damaligen Standard, und die C habe andere auch nicht gesungen , wie die als Elektra oft eingesetzte Erna Schlüter …..
Oh my God. Konetzni from 45:10 is just BAD. There can be no other words for it.
I don't understand why she didn't see reason and sang as dramatic mezzo, given the fact that she was a contralto at the outset of her career. I'm sure she would have been an effective Fricka, Herodias, Klytämnestra, but insisted on singing soprano roles, until Karl Böhm fired her from Vienna State Opera, which caused her a severe stroke from which she never recoverd until her early death.
@@hcleskov-fischer6033
You mean she sang dramatic soprano bec.thats what she sang
@@haficammkft yes, I see you misunderstood my ambiguous phrasing: I meant she should have seen reason and switched back to dramatic mezzo parts, once the top register had completely disappeared.
@@hcleskov-fischer6033wow. I didn't know about that. How sad...
I read that she was a last minute replacement for Varnay who was ill