Re: Elektra/Bychkov


Lawrence Chalmers wrote:
Any comments on this newly released 'concert performance' with Polaski
and the Koln WDR
Orchestra and Chorus? Its on the Profil Hanssler label. The sounds is
sensational and its the first time I ever heard Polaski do this role.
In terms of studio recordings I like dg Bohm/Borkh as much. Favorite
live performance is Mitropulos/Salzburg/Bohm.
Favorite excerpts are Reiner/CSO/Borkh.
Didn't like Nillson/Solti, but there are so many others I haven't heard.
Suggestions welcome.
But I think this new one is a real winner. I am not opera-savy enough
to post here much but I am really curious what you very knowledgeable
and, in some cases, 'passionate' listeners
think of this.

Thanks.
I liked the conducting because it is the first time it is played in a
"chamber music" way, the orchestral layers very clear and the SACD
Surround is very well done (some may dislike because some singers enter
from the surround channels but I think that in this case the ambience
was well done). But I do miss a sense of crazyness in the conducting,
sometimes Bychkov holds back where he should press forward.

I totally disliked Polaski here (she was fine for Barenboim some years
earlier), she is very unsteady and whenever she needs to put pressure
the higher notes do not come out clearly (take the end of the scene
with Klytemenestra for example). I also found her uninvolved (maybe
because she was not in good vocal shape), she did not make much of the
words which is essential in this role.

Anne Schwanewilms is a good Chrysothemis but competition on other sets
is stronger, she phrases and sings well but lacks an exciting top and
more "crazyness" in her interpretation as well.

The only one to hit the nail in the head was Felicity Palmer who is
great as Klytenmestra, she sings and interprets the role very well.

Franz Grundheber is pale and uninteresting as Oresthes but Graham Clark
is a good Aegisth.

It is the best engineered recording of Elektra but as a whole it does
not live up to the competition.

.

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