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From: "chsiii" <chs...@yahoo.com>
Newsgroups: rec.music.opera
References: <4ebf1c75-652d-432e-bfa5-a7bd0cb5793a@googlegroups.com>
In-Reply-To: <4ebf1c75-652d-432e-bfa5-a7bd0cb5793a@googlegroups.com>
Subject: Re: Help on "Allein Weh Ganz Allein" from Elektra
Date: Thu, 24 May 2012 14:52:45 -0400
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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.

wrote in message 
news:4ebf1c75-652d-432e-bfa5-a7bd0cb5793a@googlegroups.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.