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Elektra

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Magistral interpretación de Georg Solti de Electra de Richard Strauss.

Clitemnestra: Regina Resnik

Electra: Brigit Nilsson

Crisotemis: Marie Collier

Egisto: Gerhard Stolze

Orestes: Tom Krause

Orquesta Filarmónica de Viena

Grabado en Noviembre de 1966 en la Sofiensaal de Viena

Recomendado por Francisco Camino que dice: La versión violenta, exltada de Solti posee una toma de sonido espectacular; el reparto cuenta con un duo de protagonistas femeninos que ha marcado época; comenzando por una intensa Nilsson, voz dorada en uno de sus papeles emblemáticos; Resnik compone un retrato de una profundidad psicológica admirable. En tales condiciones, la relación madre-hija es una auténtica pesadilla.

La Gramophone Classical Music Guide afirma que es la mejor grabación es estudio de Solti.

Reedición en 180 gr de Speakers Corner

Richard Strauss was filled with doubt as to whether he would be capable of expressing in music the crazed revenge of Elektra after writing his opera Salome with its shocking story. It is quite understandable that he had trouble in composing the work, although such difficulties are not in the least evident during the course of the drama or in the musical flow. Drawing on natural sources, the forceful melodies make use of polyphonic, complex motifs and extreme dissonances. Here and there, Strauss’s typical chordal harmonies gleam through, though hardly audible, taking the harsh dissonances and chromaticism to the very extremes of atonality.
Sir Georg Solti, whose outstanding Strauss interpretations constitute the focus of his life’s work, leads the enormous orchestra through the highly complex score and provides his singers with a powerful but finely chiselled sound. Birgit Nilsson personifies an icy-cold Elektra consumed with hatred, and her counterpart Regina Resnik as Clytemnestra is no less extreme in her role. Gerhard Stolze, one of the greatest singers of his time, masters the exhausting role of Aegistheus, and Tom Krause is highly convincing as the determined Orestes. The phenomenal acoustics of Vienna’s Sofiensaal provided an ideal recording venue, and the audible quality of the sung text is excellent – although the final bloodbath can scarcely be expressed in words.

DirectorGeorg Solti
OrquestaVienna Philharmonic
CantantesResnik, Nilsson