Help on "Allein Weh Ganz Allein" from Elektra

[johnrsa...@live.com]

I am planning a talk on Elektra to opera novices and plan to play an excerpt of the last of Elektra's monologue. I like many different singers in the role for various reasons. I'm torn as to which version to play. Which soprano do you think would be the most exciting for novices. Jones has the most jaw dropping high C of all, but there are other factors to consider. I'm considering A. Marc, Nilsson studio, Varnay, Rysenek. I like Marton but she is usually flat on high C and is here.

[alcindoro]

I would go with Nilsson. Impressive vocal, good characterization, and
Solti's grand and flashy conducting. Sure to impress newbies. I
hope you are providing them with a translation of the text.

[johnrsa...@live.com]

I think after hearing all of the other's on Youtube hers is the best overall. I will provide translation. She was still marvelous in the TV broadcast from the Met when she was in her middle sixties.

[alcindoro]

> I think after hearing all of the other's on Youtube hers is the best overall. I will provide translation. She was still marvelous in the TV broadcast from the Met when she was in her middle sixties.

Agreed, but don't use that one. It doesn't show her at her best. Are
you using audio or video examples?

[chsiii]

I love the Nilsson, too - but it is for people who know a little more about
the performance history of the opera, and want to see a last photo of what
used to be the absolute best - Nilsson and Rysanek - the only thing missing
from the Nilsson Elektra is that Regina Resnik couldn't be there. Mignon
Dunn is just too sane, too young, too sniffy. For something current, or
relatively current, I like the DVD's with Irene Theorin, Eva-Marie Westbroek
and Waltraud Meier/Gatti, and from the Met, Behrens, Voigt and
Fassbaender/Levine. This role pushed Behrens to the far edge of her powers,
but she brings it off, and with the most persuasive acting possible.
Behrens could really draw you in.

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[johnrsa...@live.com]

Thanks for your help:) I wish I could use video for my Toastmaster talks, but I don't have the hookups to do that. I saw Behrens sing the Monologue and her acting is second to none! I agree about Mignon Dunn. Great Delila but way too nice for the queen. I got the CD of the early Nilsson Solti performance and the sound is sooooo much better than the MP3 sound on Youtube. At her prime she was only equaled by Astrid Varnay, but I like Solti better.

[wagnerfan]

On Fri, 25 May 2012 04:31:19 -0700 (PDT), johnrsa...@live.com
wrote:

Back when I was at prep, I used to go with a friend to the audio room
and he LOVED to hear Nilsson sing the monologue from the Solti studio
set - he didn;t know the rest of the opera but he just couldn't get
enough of her singing that section - thats the part I think you
should use. The audience will be blown away by the power!!!!

Wagner Fan

[johnrsa...@live.com]

Definitely the monologue. It's my favorite part as well. I wish I could do the last couple of explosive minutes for the thrills contained within, but I think I'll do the opening when Strauss creates such a spooky, nightmarish atmosphere with the music and the way the text and music are so magnificently wedded together.

[pfb...@yahoo.com]

On May 22, 9:17 pm, johnrsayshe...@live.com wrote:
> I am planning a talk on Elektra to opera novices and plan to play an excerpt of the last of Elektra's monologue. I like many different singers in the role for various reasons. I'm torn as to which version to play. Which soprano do you think would be the most exciting for novices. Jones has the most jaw dropping high C of all, but there are other factors to consider. I'm considering A. Marc, Nilsson studio, Varnay, Rysenek. I like Marton but she is usually flat on high C and is here.

There is a great performance on RCA from the 1950's with Inge Borkh
and Fritz Reiner with the CSO.

[alcindoro]

I recommend that one also. Borkh is terrific and Reiner gets even
more color from the orchestra than Solti.

[johnrsa...@live.com]

On Monday, May 28, 2012 5:40:50 PM UTC-7, alcindoro wrote:
> On May 28, 8:31 pm, pfb3...@yahoo.com wrote:
> > On May 22, 9:17 pm, johnrsayshe...@live.com wrote:
> >
> > > I am planning a talk on Elektra to opera novices and plan to play an excerpt of the last of Elektra's monologue. I like many different singers in the role for various reasons. I'm torn as to which version to play. Which soprano do you think would be the most exciting for novices. Jones has the most jaw dropping high C of all, but there are other factors to consider. I'm considering A. Marc, Nilsson studio, Varnay, Rysenek. I like Marton but she is usually flat on high C and is here.

> >I heard her on a Sirius Met historical broadcast and I was mighty impressed!

[Ato Z]

Just curious - when you say opera novices, do you mean exactly that:
newcomers to the art form itself? Or just to Elektra?
If the former, I'm not certain that Elektra is the best way to go. I'm
sure that you certainly appreciate the work and want to share it, but
newbies might be more impressed with something more accessible, say from
Aida or Traviata. It's been my experience that those new to opera are
not so much cognizant of the quality of the singers as of the "sound" of
the work itself.
I can only speak for myself, but I know when I was just discovering
opera, "Allein Weh" would have probably have been something of a
turnoff.
Anyway, good luck!

[johnrsa...@live.com]

> turnoff. I have done 13 intro to opera speeches to my 2 Toastmaster clubs. Almost everyone is a newbie to opera. They have been almost universally well received and I have swung some people into those who are open to opera now. I thought this psychological opera would be a different approach. I had a friend who played the Rysenek DVD for all of his Senior English H.S. classes and they were mesmerized. We'll see how it goes. I've reached maybe 5 times my live viewership on Youtube.
> Anyway, good luck!

[johnrsa...@live.com]

http://www.youtube.com/watch?v=JjkTHVScBbE. Here is my speech. I was plessed as to how it turned out.

[johnrsa...@live.com]

Should have read "pleased". We need Spellcheck for 6AM.

[wagnerfan]

On Sun, 17 Jun 2012 07:55:01 -0700 (PDT), johnrsa...@live.com
wrote:

Very nice but correction - Hofmannstahl did not write the texts for
all of the Strauss operas - he arguably wrote the texts for the
greatest though

Wagner fan

[johnrsa...@live.com]

On Sunday, June 17, 2012 11:59:44 AM UTC-7, wagnerfan wrote:
> On Sun, 17 Jun 2012 07:55:01 -0700 (PDT),

Wagnerfan, Thanks for watching closely enough to catch that! I feel honored. They seemed to really enjoy it, which was the goal.

[chsiii]

Illustrative, and very entertaining. Your whip-cracks could stand a little
more arm-snap - maybe it was the jacket - but your sense of humor is sharp
as a tack. I like: "In this opera, no one is happy."


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[johnrsa...@live.com]

On Monday, June 18, 2012 5:40:59 AM UTC-7, chsiii wrote:
> Illustrative, and very entertaining. Your whip-cracks could stand a little
> more arm-snap - maybe it was the jacket - but your sense of humor is sharp
> as a tack. I like: "In this opera, no one is happy."
>
>

After watching the video I think you are right. I needed to commit myself more to the whip-cracks! Thanks for watching and the kind words:)
>

[alcindoro]

Please let us all know how the presentation turns out! Viel Gluck!

a

[johnrsa...@live.com]

On Tuesday, June 19, 2012 11:04:41 AM UTC-7, alcindoro wrote:
> Please let us all know how the presentation turns out! Viel Gluck!
>
> a

On the 4th post in this thread I list the Youtube video where you can see it. It seemed to be well received by both of my Toastmaster clubs. I had not intended to be funny, but I think it helped dispel the gloomy story of Elektra. I sure had fun, which was my goal and I made others laugh and expand their horizons. Thanks Alcindoro