i stand warned
From an email promo for Washington National Opera’s current production of Elektra:
See Susan Bullock and Christine Goerke Sing Elektra!
Washington National Opera stars Susan Bullock and Christine Goerke are featured in these extended excerpts and interviews from a recent production of Strauss’ Elektra in Florence, Italy, directed by Robert Carsen and conducted by Seiji Ozawa. Note: The interviews and subtitles are in Italian, and Clip Two contains nudity.
But, on the other hand, La Cieca thinks perhaps (just perhaps) nudity might be preferable to some of the costuming for this production, which our informant describes as “a particularly overwrought drag show.”
No disrespect, oh wise La Cieca… but i just went to WNO’s website, and the costumes dont seem all THAT garrish… and truth be told id rather look at the costumes rather than the nude singers… but id love to hear Ms. Goerke again anytime, clothed or nekkid.
Has anybody else seen that Draculetta will be singing live in Prospect Park on June 20th? I find the press release I saw fascinating – Gheorghiu is billed at the top, and then a bit further down in the main body of the text it mentions that her husband will also be around and will do a bit of singing too.
I find it odd that she is being positioned as the star, while Alagna is some kind of ‘also ran’. In the context of the current operatic environment, and in the right repertoire, he’s about the best tenor we have and is a big name that sells well (although the concert is free) in his own right. And isn’t the couple an even greater draw than the artists individually? Or has somebody decided enough is enough – no more promoting them as the Sonny & Cher of opera?
Anyway, should be a good concert, as these open air things go.
Wait, isn’t that Petula Clark in Sunset Boulevard?!
Whatever the costumes, the audience is in for a treat with Bullock’s Elektra. Not an ideal-size voice for the part (more jungendlichdramatish than hochdramatisch) but absolutely riveting.
In the photo, is that Elektra wearing the turban and jewels or Klytaemnestra? It looks like it could be Bullock but I’m not sure.
I am not yet familiar with this opera, but i determined it to be K, sung by Irina Mishura…
Having seen the first night I can testify that while Bullock is intensely impressive and committed, it is Goerke who, vocally and dramatically steals the show with a wonderfully evenly-produced, creamy and powerful voice that rode the orchestral tempest with ease and passion- and on Saturday the last 20 minutes were incandescent – finally the performance took fire and you were held vice-like to your seat.
I did like the set but thought, unlike some comments that I have read that is recalled Edvard Munch-like expressionism rather than Pop-art candy oolours.
I haven’t heard about Goerke in a while. She sang Norma in Seattle several years ago (opposite the Adalgisa of Podles) and I saw her at the Met as an excellent Donna Elvira a few years ago. I was expecting to hear more and more of her but haven’t. Glad to hear that her Chrysothemis was such a triumph. Is her career mostly based in Europe?
I enjoy Christine alot… and i thought from the clip on the WNO website she sounded great, too… I love her recording of Iphigenie en Tauride, and after listing to that, i heard her live in Santa Fe in 2004 in the title role of Agrippina and she didnt disappoint there, either. Where else has she been?
Goerke scored an absolute triumph with Crysothemis in Florence in the production La Cieca mentions (which was truly excellent, Bullock very good and Baltsa spectacular as Clytemnstra). She is debuting Fidelio in Philadelphia next season (or perhaps has just done it, I forget).
Eman: “Baltsa spectacular as Clytemnstra”
I would kill to hear or see her do this. I will always remain a rabbid Baltsa fan.
Totally agree chaco – I think La Baltsa has been underrated. She’s always great in everything she does.
That is GOERKE, thank goodness, who is doing Leonore next year, not Baltsa, whose voice, empty of a middle register and with the chest brought wildly high, hasn’t been in good shape since about 1985.
Goerke —bombed— just the other night in Philly as —Norma—. Check it out in R.M.O. What is it then about Philly that seems to attract pig noise-making?
I was present for Gorke’s Agrippina in Sfe a few years ago, and the voice was flat, out-of-control, and she looked like a Bronx matron. While the voice has some very attractive places (the middle) the top is flat and not blooming. She seems to have taken time off the past few years to rework the voice, but, while larger, not necessarily better. Listen to some of the Firenze Chrysothemis on Youtube.
As for Bullock, I took part in 2 perfs of ELEKTRA with her, and while she is comfortable in the role, the voice is just plain old WRONG for the part.
Must be my ear… i didnt notice CG being off pitch. I remember exciting runs of coloratura singing and great comic know-how, and much physical grace. Id love to see her treatment of Klytamnestra.
High C’s@420:
Goerke’s character (Chrysothemis) and Klytamenestra don’t share any stage time.
Oops… my bad… between the WNO production, the talk of Agrippina and the fact that i just opened and listened to the Sinopoli cd w/ Marc/Scwartz/Voigt… im confusing myself… is this a good or not so good version of the Electra CD?
I think Marc is the most beautifully sung Elektra on disc. The orchestra is powerful, recording quality great. Good choice.
Ive been into opera for 8 years now, and this is my 8th Strauss CD… i really disliked him in the beginning, but now thoroughly enjoy him… even after just the one listen tonight, i can tell ill get my monies worth…
Sadly, Sinopoli’s Elektra was not his best moment due to inadequate singers. Vastly superior is the EMI/Sawallisch with Marton, Lipovsek and Studer, the latter a magnificent exponent of Chrysothemis. Even better is the video from Vienna conducted by Claudio Abbado with Marton, Fassbaender and, once again, Studer as Chrysothemis. It’s out on DVD and there are excerpts on YouTube. Not to be missed or dismissed.
As predictable as she is, I have to agree with Marshie about the Sawallisch Elektra. I have about eight recordings of the opera, and Studer is a stand-out Chrysothemis. I get chills whenever I listen to her sing the “Kinder will ich haben!” sequence.
8 recordings of the same opera??? not me… just one of each…sometimes i cant decide which OPERA to listen to, I sure dont need to then decide which version to go with!
much as I tried, I could not watch the clips. Are they on youTube or can someone post them?
High C’s. Give it time.
You’ve only been into this opera thing for eight years. It all starts with an opera that has at least two must-have interpreters, like say Sutherland/Callas in a number of bel canto roles or Tebaldi/Calls in a number of verismo roles. And once you open the floodgates, there’s no turning back.
So… i do have over 125 different cds, which alone takes up 6 shelves above the stereo… where do you all keep these mass recordings… and im sure with the older sect theres vinyl and reel to reel… does everyone have a second bedroom for opera storage ? I would imagine one duplicate would open the floodgates… just why i havent done it yet.
Amen to not being able to turn back! I am in the process of moving and my opera/classical CDs are becoming a cumbersome treasure. I think Traviatas are around ten different recordings, Aida around six, and four Tristans! Not to mention the off-the-air cassettes, CDs, and broadcasts on VHS tapes. I do sometimes wonder what I will do with all this glorious shit!
Everytime I read about a Trovatore or Tosca recording that looks tempting, I have to remind myself that I already have 10 recordings of each and should perhaps spend my money on something else. I’m sure that’s nothing compared to some people on this site. I have a friend who has around a hundred different recording of Four Last Song!!!
High C’s Wait till you have the problem of choosing for instance 15 or 16 Don Giovanni’s, 10 Otello’s, 6 Pelleas & Melisandes’ or 13 Ring cycles to listen to. At least by the time you get back to each one of them, ‘everything looks new again’. It also shows in sharp relief, standards rise and fall and that the greatest 15 year period for opera in the 20th Century was from say 1955 -70. Just have a think, a mental quiz about the roll call of singers available at that time ever established on the scene or coming onto it -then compare it with today’s drought.
The best recorded Strauss Electras’ were Nilsson and Borkh. If I am not mistaken the Solti/ Nilsson and Sawallisch / Marton versions are the only two to record the extra but normally cut 7 minutes of the score. People have mentioned Agnes Baltsa in this discussion. If one wants to hear real ‘pig filth’ singing, listen to a Sony CD recital of Baltsa & Carreras conducted by Domingo from 1992….an singing embarassment from worn voices: that should never have been released.
High C’s @ 4:20 whispered:
8 recordings of the same opera??? not me… just one of each…sometimes i cant decide which OPERA to listen to, I sure dont need to then decide which version to go with!
High C’s : I envy your present space situation, where once I would have envied my present situation. Having seven and a half thousand Cds and about two thousand vinyl. Forget about the rest…the tapes and DVDs. I have all of them in two seperate rooms plus lining the three walls of the listening room. They make for good ascoutic wall treatment though. Thinking of shifting: is not an nightmare option, I could consider,or ever contemplate. We pay for having a ‘more is not enough’ acquisitiveness.
High C’s4:20 squawked:
“So… i do have over 125 different cds, which alone takes up 6 shelves above the stereo… where do you all keep these mass recordings… and im sure with the older sect theres vinyl and reel to reel… does everyone have a second bedroom for opera storage ?”
My friend Terry took me under his wing in 1999 and between his gifts and advice, i like to think i have the best recordings available…for years i never bought a thing without consulting him first… He was in your situation and HAD to downsize… he gave some of his really old rare stuff to univesities in Florida and Georgis where he was educated… not that you all will ever downsize, but he said they were MOST appreciative…
High C’s:
Take them out of their jewel cases and put them in folders. You can buy decent ones @ Staples or Office Depo. Keep the inserts and get rid of the plastic cases. That will free up a lot of room. I move my CDs out of their cases the moment I rip them into my iTunes.
I don’t currently own a lot of CDs and since Tower closed, I don’t even shop much in brick and mortar stores; most of what I have in iTunes are either La Cieca’s podcasts or purchased downloads. I will say say, though, I find it really hard to only pick one of most recordings. Moffo’s Traviata is fabulous, but so is Cotrubas’. L. Price’s Trovatore vs. Plowright’s? Or Sutherland’s? Yikes! Don’t make me pick just one.
Im doing pretty good… ive got the Leontyne Trovatore and Cotrubas’ Traviata… And, to get Marshie on my side, the one and only Merry Widow i have is that of the stupendous Cheryl Studer…
I look at the jewel boxes as an everchanging wall of art… each new opera adds a little piece to the musical mosaic.