STRAUSS, R.: Elektra (Studio Production, 1982)

STRAUSS, R.: Elektra (Studio Production, 1982)


You must be logged in to view this video

- (Disc 1)
Elektra, Op. 58, TrV 223
Libretto/Text Author: Hofmannsthal, Hugo von
Conductor: Bohm, Karl

A Young Servant: Doig, Christopher
Aegisthus: Beirer, Hans
Agamemnon: Boysen, Rolf
Chrysothemis: Ligendza, Catarina
Clytemnestra: Varnay, Astrid
Maidservants: Borris, Kaja
Maidservants: Gall, Axelle
Maidservants: Nikolova, Milkana
Maidservants: Vance, Marjorie
Maidservants: Yachmi, Rohangiz
Old Servant: Bohme, Kurt
The Confidante: Reppel, Carmen
The Overseer: Lorand, Colette
The Trainbearer: Warla, Olga
Tutor of Orestes: Greindl, Josef

Set/Stage Designer: Svoboda, Josef
Costume Designer: Halmen, Pet
Stage Director: Friedrich, Gotz
Television Director: Friedrich, Gotz

Playing Time: 01:58:48
Catalogue Number: A05001698


Ever since his filming of Salome with stage director Gotz Friedrich in 1974, it had been one of Karl Bohm's greatest wishes to realize an Elektra film with the same director. The production was completed in 1981. That spring, Bohm conducted the soundtrack for the film in Vienna with the Vienna Philharmonic - it was the great musician's last recording. His death on 14 August 1981 in Salzburg, while work was still in progress on this film, makes Elektra his artistic legacy. No other opera by Richard Strauss calls for such gigantic vocal and instrumental forces as Elektra. The work surges with savage polyphonic sonorities typical of expressionism. Elektra was the first work written in collaboration with the poet Hugo von Hofmannsthal and was premiered in the Semper Opera in Dresden on 25 January 1909. In this production, history, psychoanalysis and modern-day apocalyptic visions are presented with compelling urgency through Friedrich's staging and Bohm's artistic mastery. Elektra becomes a contemporary myth of desperate, unrelenting humanity. "Seldom before, surely, have the often erotic ideas of Hofmannsthal's libretto been so explicitly delineated or its tragic grandeur so movingly realised. Leonie Rysanek, in her first and possibly only Elektra, surmounted the score's superhuman demands with an interpretive achievement that crowns her career of more than 30 years. As a whole, the film showed that opera on television can be a great experience." (Daily Telegraph, 4 May 1985)

"Besides being an important historical document of some great opera
talents, Gotz Friedrich's film adaptation of Richard Strauss' Elektra is unusually good television. This Freudian interpretation of the ancient Greek saga is steeped in guilt, murder, incest and revengeEUR" (USA Today, 4 November 1986)

"This is a powerfully moving Elektra, many of its distinctive images as memorably vivid as they are harsh. The performances, on the recording and on the set, are really quite extraordinary. Miss Rysanek, in particular, is impressive in what must have been trying circumstances." (The New York Times, 11 April 1986)

Part 1

Select language: