Elektra: ROH

[Ein Heldenleben]

Looking forward hugely to this in light of the comments above and other reports from the dress. I'm going on Monday and can't wait. But I have to, because before that, it's Jenůfa at the Barbican tomorrow. I've seen Elektra twice at the ROH: the first was Rudolf Kempe in 1974 and the second was Solti in 1990(ish). Both stupendous. It'll be a thrill to hear it again, particularly as the production sounds so compelling.

Pretty sure I went to the Solti - certainly have a programme for it. I see from the archive that he got through it in 1 hr 40 !

I remember this production much more strongly though .WNO at the New Theatre Oxford 1979
Elektra daughter of Klytämnestra and Agamemnon Pauline Tinsley Chrysothemis sister to Elektra and Orest Anne Evans
Klytämnestra widow of Agamemnon Debria Brown
Confidante Menai Davies
Trainbearer Anne Mason
Young Servant Mark Hamilton
Old Servant Gordon Whyte
Orest son of Klytämnestra and Agamemnon Willard White
Tutor in Orest's service Peter Massocchi
Aegisth Klytämnestra's lover John Mitchinson (May 16)
Neville Ackerman (May 19)

Conductor Richard Armstrong

Amazing cast when you think about it. Willard White made a tremendous impact as I recall.

[Simon B]

I remember this production much more strongly though. WNO at the New Theatre Oxford

Amazing cast when you think about it.

Amazing that they were doing it at all when viewed from a contemporary perspective. There's about as much chance of WNO or Scottish Opera staging this now (not through any failings on their part) as there is of them asking me to conduct it. How things have changed - if you want opera on this scale fully staged in the UK now it's Covent Garden... or nothing.

It sounds like this production might do it justice. I can remember absolutely nothing about the last production at the ROH, though I do remember Christine Goerke in the title role. She seemed oddly underpowered at Covent Garden on several hearings which made no sense at all. At around the same time in a concert performance at the Proms with Bychkov she was absolutely astonishing in both vocal heft and living inside the role despite virtually no theatrical adornments to the presentation.

It's not all about decibels but I do hope Ms Stemme continues to have firepower such that the ROH orchestra (who frequently sound like the best British orchestra to me in the last few years) can let rip at a few key moments towards the end without drowning her or being kept on a tight leash to avoid it. If ever there's a time the foundations should shake, this is it...

[Ein Heldenleben]

Amazing that they were doing it at all when viewed from a contemporary perspective. There's about as much chance of WNO or Scottish Opera staging this now (not through any failings on their part) as there is of them asking me to conduct it. How things have changed - if you want opera on this scale fully staged in the UK now it's Covent Garden... or nothing.

It sounds like this production might do it justice. I can remember absolutely nothing about the last production at the ROH, though I do remember Christine Goerke in the title role. She seemed oddly underpowered at Covent Garden on several hearings which made no sense at all. At around the same time in a concert performance at the Proms with Bychkov she was absolutely astonishing in both vocal heft and living inside the role despite virtually no theatrical adornments to the presentation.

It's not all about decibels but I do hope Ms Stemme continues to have firepower such that the ROH orchestra (who frequently sound like the best British orchestra to me in the last few years) can let rip at a few key moments towards the end without drowning her or being kept on a tight leash to avoid it. If ever there's a time the foundations should shake, this is it...

Yes you are absolutely right (with apologies for the implied slight to your conducting ability ) . Around the same time WNO did a (superb) production of Die Frau Ohne Schatten . Also a celebrated Tristan with Linda Esther Gray and Goodall. They used to do a short season at the Dominion Tottenham Court Road - a rather good opera venue from an audience point of view. Happy Days.
I had no problem hearing the principals over the orchestra though I was in the slips where the voices seem to ride over the band better for some weird acoustic reason. I think AP held the (enormous ) band back a bit until the last 15 mins . Not an expert on these things but it always seems to take some time for some of those big spinto voices to warm up no matter what they do in the dressing room. I don’t think Stemme is hugely loud but she does have what Mark Elder calls “blade “ . A term he used in describing how Domingo cuts through.
For some reason the stalls especially the rear stalls seems to favour the orchestra - once sat next to a High Court Judge who muttered “orchestra far too loud “ at a Der Rosenkavalier with Renee Fleming.
The pricier seats aren’t necessarily the best.
It’s a weird thing loudness - I went to a Boris Giltburg piano recital at the Wigmore Hall the night before and it was louder than the Strauss. A lot of people commented on it .

[Master Jacques]

Yes you are absolutely right (with apologies for the implied slight to your conducting ability ) . Around the same time WNO did a (superb) production of Die Frau Ohne Schatten . Also a celebrated Tristan with Linda Esther Gray and Goodall. They used to do a short season at the Dominion Tottenham Court Road - a rather good opera venue from an audience point of view. Happy Days.
I had no problem hearing the principals over the orchestra though I was in the slips where the voices seem to ride over the band better for some weird acoustic reason. I think AP held the (enormous ) band back a bit until the last 15 mins . Not an expert on these things but it always seems to take some time for some of those big spinto voices to warm up no matter what they do in the dressing room. I don’t think Stemme is hugely loud but she does have what Mark Elder calls “blade “ . A term he used in describing how Domingo cuts through.
For some reason the stalls especially the rear stalls seems to favour the orchestra - once sat next to a High Court Judge who muttered “orchestra far too loud “ at a Der Rosenkavalier with Renee Fleming.
The pricier seats aren’t necessarily the best.
It’s a weird thing loudness - I went to a Boris Giltburg piano recital at the Wigmore Hall the night before and it was louder than the Strauss. A lot of people commented on it .

"Blade" is the thing: not all the great singers I've heard live had enormous voices - Domingo, Baker, Fischer-Dieskau are the first names springing to mind - but they developed a focused artistry which drew you in, and which enabled them to transcend orchestral volume. And I too remember those WNO Dominion Theatre seasons as great highlights, musically: Pauline Tinsley, in anything, whether the Dyer's Wife, or Turandot, or Elektra, was pretty much the best!

I agree with your description of Stemme's vocal "blade" at this stage of her career, when fresh-voiced athleticism no longer sees her through. She knows when to go for it, and when to let "focus" serve instead of her old, sheer volume. Her artistry has become impressive, and I didn't have any difficulty hearing her (front row of the Grand Tier) though her words weren't always as clear as the other two leading ladies. Understandably, in the circumstances, I felt she was holding things a little in reserve on Tuesday. Tomorrow night may well be a different matter.

[Barbirollians]

I am looking forward to seeing this next week - using my gift voucher from when it was cancelled in 2020. Nina Stemme was the draw for me as I don’t know the opera at all. Since then I have acquired a copy of the Nilsson/Solti recording - should I listen to it beforehand or go in ears afresh ? Any advice ?

[Master Jacques]

I am looking forward to seeing this next week - using my gift voucher from when it was cancelled in 2020. Nina Stemme was the draw for me as I don’t know the opera at all. Since then I have acquired a copy of the Nilsson/Solti recording - should I listen to it beforehand or go in ears afresh ? Any advice ?

I would say, watch it first, as this is a production with no tricks. Then listen to your classic Solti set afterwards. The opportunity to hear a great opera with "innocent ears" is an exciting one!

[Belgrove]

I agree with Master Jacques, don’t listen to the Solti beforehand. That is, in any case, marred by a histrionic Resnik, who cackles like a demented pantomime witch at the end of her big scene. It’s fiercely driven by Solti too, robbing it of what lyricism is there.

But some pointers you may care to listen out for (the plot is easy enough to follow). The scene between Elektra and Chrysothemis, where Chrysothemis dreams of a normal life and the potential to become a loving mother, is glorious. The scene between Elektra and Klytämnestra is the dramatic high point (for me), where the neuroses of the guilt ridden mother come to the fore - it should make the flesh creep. Hofmannsthal’s quality adaptation is literally the stuff of nightmares here. The recognition scene between Elektra and Orest is a big moment, but has never successfully come off in any production I’ve seen. (Indeed it was only this scene that was better than any other in the opera in a performance of the play I saw at the Old Vic a while ago.) But this scene nevertheless has its enthusiasts. The principal attraction (again for me) is the orchestra, reputedly the largest in any opera. The scoring is a tour de force, teetering on the edge of atonality; but the long Straussian line is always there, albeit rather jagged. There are some astounding orchestral effects that serve the drama. And it’s never far away from dance music - so essentially Viennese, in decadent body and soul.

[Ein Heldenleben]

"Blade" is the thing: not all the great singers I've heard live had enormous voices - Domingo, Baker, Fischer-Dieskau are the first names springing to mind - but they developed a focused artistry which drew you in, and which enabled them to transcend orchestral volume. And I too remember those WNO Dominion Theatre seasons as great highlights, musically: Pauline Tinsley, in anything, whether the Dyer's Wife, or Turandot, or Elektra, was pretty much the best!

I agree with your description of Stemme's vocal "blade" at this stage of her career, when fresh-voiced athleticism no longer sees her through. She knows when to go for it, and when to let "focus" serve instead of her old, sheer volume. Her artistry has become impressive, and I didn't have any difficulty hearing her (front row of the Grand Tier) though her words weren't always as clear as the other two leading ladies. Understandably, in the circumstances, I felt she was holding things a little in reserve on Tuesday. Tomorrow night may well be a different matter.

Yes I agree I think she was keeping things in reserve . I was loath to say that she was “holding back “ as this was a rehearsal and she is perfectly entitled to do just that . Karin Matilla was definitely marking but the two other principals clearly chose not to. They are younger of course and that perhaps makes you more of a risk taker?

Bizarre fact - in fifty years of going there I’ve never once sat in the Grand tier,

It is good to remember Pauline Tinsley who died fairly recently . A great Straussian.

[smittims]

There are a number of innovations in this work. Strauss would have been aware of the long-running (unwritten?) convention of opera where the opening scene is male voices and the second scene or second act, is predominantly female (Cosi, Aida, etc. etc. ) . Here there are no male voices until halfway through,and then only briefly. Orest's a entrance is therefore all the more of a contrast. and I've always felt this is most marked in the 1960 CDG recording with Karl Bohm, where Dietrich Fischer-Dieskau is a memorable Orest. Another 'first', surely , is the requirement for half the second violins to play violas for part of the work. I wonder how many violinists can do this, and if they 'fake' by playing it on their fiddles instead.

[HighlandDougie]

Pretty sure I went to the Solti - certainly have a programme for it. I see from the archive that he got through it in 1 hr 40 !

I remember this production much more strongly though .WNO at the New Theatre Oxford 1979
Elektra daughter of Klytämnestra and Agamemnon Pauline Tinsley Chrysothemis sister to Elektra and Orest Anne Evans
Klytämnestra widow of Agamemnon Debria Brown
Confidante Menai Davies
Trainbearer Anne Mason
Young Servant Mark Hamilton
Old Servant Gordon Whyte
Orest son of Klytämnestra and Agamemnon Willard White
Tutor in Orest's service Peter Massocchi
Aegisth Klytämnestra's lover John Mitchinson (May 16)
Neville Ackerman (May 19)

Conductor Richard Armstrong

Amazing cast when you think about it. Willard White made a tremendous impact as I recall.

I went to see this WNO touring production when it was in Birmingham - 1979 for sure. I remember being mightily impressed with Pauline Tinsley but rather repelled by the opera. I've never had any inclination either to see it or listen to it since then.

[Ein Heldenleben]

I agree with Master Jacques, don’t listen to the Solti beforehand. That is, in any case, marred by a histrionic Resnik, who cackles like a demented pantomime witch at the end of her big scene. It’s fiercely driven by Solti too, robbing it of what lyricism is there.

But some pointers you may care to listen out for (the plot is easy enough to follow). The scene between Elektra and Chrysothemis, where Chrysothemis dreams of a normal life and the potential to become a loving mother, is glorious. The scene between Elektra and Klytämnestra is the dramatic high point (for me), where the neuroses of the guilt ridden mother come to the fore - it should make the flesh creep. Hofmannsthal’s quality adaptation is literally the stuff of nightmares here. The recognition scene between Elektra and Orest is a big moment, but has never successfully come off in any production I’ve seen. (Indeed it was only this scene that was better than any other in the opera in a performance of the play I saw at the Old Vic a while ago.) But this scene nevertheless has its enthusiasts. The principal attraction (again for me) is the orchestra, reputedly the largest in any opera. The scoring is a tour de force, teetering on the edge of atonality; but the long Straussian line is always there, albeit rather jagged. There are some astounding orchestral effects that serve the drama. And it’s never far away from dance music - so essentially Viennese, in decadent body and soul.

A fine analysis - you should be doing the programme notes. At rehearsal I thought the recognition scene went superbly well - helped by some great singing .

[Ein Heldenleben]

I went to see this WNO touring production when it was in Birmingham - 1979 for sure. I remember being mightily impressed with Pauline Tinsley but rather repelled by the opera. I've never had any inclination either to see it or listen to it since then.

less repellent than Salome surely ? The opportunities to be repelled by Elektra live are sadly few and far between whereas Salome is fairly regularly on the menu.

[smittims]

...and served on a silver dish!

It's interesting that Salome ran into censorship problems in Britain , but not Elektra, the (surely absurd) reason being that the Lord Chancellor forbad the acting of a biblical character (John the Baptist) on stage.

Nowadays Strauss' most repellent (or at least politically-incorrect) opera must be Feuersnot, whose plot would surely be called 'misogynist' on Woman's Hour.

[HighlandDougie]

You are right - "repellent" isn't really the right word (and, were it to be so, 'Salome' fits the description rather more than 'Elektra'). Maybe I mean, "repugnant". Whatever, I dislike both operas, although I would have to own up to seeing 'Salome' in the flesh several times. First time at ROHCG in about 1978/79. Was it Hildegard Behrens in the title role? Zubin Mehta conducting.

[Master Jacques]

I agree with Master Jacques, don’t listen to the Solti beforehand. That is, in any case, marred by a histrionic Resnik, who cackles like a demented pantomime witch at the end of her big scene. It’s fiercely driven by Solti too, robbing it of what lyricism is there.

Tastes may differ on that point! I love the way Resnik's chuckle starts small and subterranean, then (like Falstaff's laugh) gradually takes over the whole world and becomes a demented scream. Far more disconcerting is Collier's interpretation of "moaning like a dog" when she hears the false rumour of Orestes' death. I was once sharing the performance with a friendly cat, who arched her back, spat and whisked out of the room when that started up. I can't blame her. In any case, the Solti performance is (rightly in my view) a gramophone classic, and you can't go wrong with it.

One of many things I liked about this new production, was the fact that it was never, at any point, about demented or crazy behaviour - everyone has a reason for feeling as strongly as they do, and they all have lines about how they're acting strangely and hate what's happening to them. The opera is really about distorted love, rather than hate, and the director gets that spot on.