Scène où Électre se suicide d'Idomeneo de Mozart. Elletra decide to kill oneself from Idomeneo by Mozart Conduit par/ Directed by James Levine Électre = Hildegard Behrens
She was a great singing actress and she wouldn't give anything but her total commitment. The opera world is a sadder place for her passing. Some will criticize her in this aria as it is not a classic piece of Mozart singing style , but she gets to the heart of the role somehow in a way that more smoothly classical approaches may not. Honesty is a fine artistic quality and she possessed it in bucketfulls. RIP Hildegard Behrens.
I know some opera purists might not like the slightly rough edges here, but I really love this. The passion and drama in her voice are incredible and the orchestra is excellent. And what a fantastic piece of acting.
She is not a coloratura soprano. For instance she doesn’t do the staccati runs at the end of the aria. However that last dying breath at the end is such a great touch. Technically not good but this is one of the most memorable interpretations of this aria.
@@mscott3918 She was a junior barrister. Having a profession in the legal field comes in handy when it comes to dealing with contracts in the music business.
@@jjh2456 You're absolutely right.Technically not so good.But music its not only matter of technic.Its matter of soul of artist matter of feeling that artist give to audience.And when i listened this aria from mrs Berhens a hot summer day with 40celsius i was overcome by frisson in my spawn and yes make me cry.
Why so? Those sitting at home have no less right to pass their opinion than those who attend the theatre. Attending a performance and offering your opinion doesn't make you right and the others wrong!
@@grantes4969 I think you misunderstood. I used the term to reference, for example, those who take the score to an opera and tut over what they perceived to be a wrong note, or to say that Madam X sang it half a tone higher in the original production. Forgetting that each performance is unique, fortunately, and not a carbon copy.
Come on! This isn't a 'Lucia' mad scene that requires mellifluous singing. Just listen to the cacophonous word! Only someone like Behrens could do it convincingly: I've never heard Elettra's final note so dramatically articulated, ie like a woman who's dying (let's call it poetic license). A thrilling interpretation, despite the absent staccati
It's clear that Behrens's motions of head and arms in this 1982 Met production directly inspired Anna Netrebko's own gyrations in her 2006 Salzburg performance, included in this MIX. Including the final stretching of her left arm while closing her eyes and hinting at the spasms of dying.
I don't agree with the previous posters who think this is amazingly dramatic. At times she almost yelps to be "dramatic", and I think that's a great misunderstanding. IMO opera is drama THROUGH singing, not AT THE SACRIFICE OF singing. There are singers who sing beautifully, and there are singers who to some extent succeed in being "dramatic", but I think it's the singers who manage to combine these two aspects that make opera really exciting.
Darling, the thing is: if you are about to die of convulsions you do not sing "beautiful". As the great Irmgard Seefried once put it: when it comes to art, you got to have the courage to be ugly
Pavarotti’s Idomeneo-with the WORST “Fuor del mar” one will EVER hear-and this whacked out but admittedly FUN Elettra by Hildegarde Behrens proves that the Metropolitan Opera of New York City is a true Third Word jungle of an opera house when it comes to the Mozart and earlier works. FYI, as of 2018, the Met STILL used this dusty old Ponnelle production for Idomeneo and Tito, which pretty much look IDENTICAL to each other, btw. Yes, the operatic Third World, that’s the Met. LOL
¡¡Qué gran desastre el de esta señora!! ¡Pobre Electra! La soprano no sólo no se ajusta a la línea mozartiana sino que la destruye, despedazando la frase final (por su terrible falta de fiato y resistencia respiratoria) con un burdo truco del verismo, que para nada tiene que ver ni con el estilo y muchísimo menos con la escritura musical de Mozart, concebida unos siglos antes. No conforme con ser ostensiblemente desafinada y poseer un desagradable vibrato de orden nasal completamente fuera de estilo, esta señora se permite respirar donde no es posible ni está marcado por el compositor hacerlo, de manera que parte en dos las frases de coloratura y por supuesto, entra tarde con relación a la orquesta, generando así un caos musical del que sólo un director de pulso y experiencia puede salvar milagrosamente al conjunto orquestal. Resulta increíble que este trabajo forme parte de un espectáculo público. El punto de las coloraturas es realmente escandaloso, la señora ni hace lo que está escrito, ni vocalmente puede con eso, de allí el truco bastardo del final. Si a eso se añade la escenificación falsa, epidérmica, burlesca, carente de emoción y rebosante de gestos muy propios de los malos actores, tenemos aquí un pésimo ejemplo de lo que con esta aria los cantantes mediocres pueden hacer y un público delirantemente ignorante puede estar dispuesto a aplaudir. Inenarrable la escenita final, en la que -según su propuesta-, Electra se "desmaya" de la manera más torpe y acto seguido se mueve (no se sabe por qué ni para qué, gesto explicable sólo por la redomada ignorancia escénica de la soprano), sólo para "despertar" y "desmayarse" de nuevo, en fracciones de segundo... Es con mucho, la peor ejecución de esta aria que haya podido ver nunca. Gracias al administrador de este canal por compartir.
