Elektra  (Solti;  Birgit Nilsson, Regina Resnik, Marie Collier)  (2-Decca 417 345)
Item# OP0195
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Product Description

Elektra  (Solti;  Birgit Nilsson, Regina Resnik, Marie Collier)  (2-Decca 417 345)
OP0195. ELEKTRA, recorded 1967, w. Solti Cond. Vienna Phil.; Birgit Nilsson, Regina Resnik, Marie Collier, Gerhard Stolze, Tom Krause, etc. (Germany) 2-Decca 417 345, Slipcase Edition, w. Elaborate libretto-booklet. Long out-of-print, Final Sealed Copy! - 028941734525


"Solti's recording, long considered one of the gramophone's classics, is an exciting affair, and has for its Elektra, Birgit Nilsson. Nilsson's approach to the role could be thought by some to be too overpowering, but there is no doubt the voice is in magnificent form. High Bs and Cs are met with absolute perfection, and the voice triumphantly rides above the orchestra when its needs to but one often feels that Nilsson lacks some of Borkh's colour, her palate being all too often Wagnerian in a role that, although dramatic, also requires subtlety. The Vienna Philharmonic are in glorious form for Solti, as they are for Sinopoli 30 years later."

- Marc Bridle, musicweb-international.com

“Nilsson made so strong an imprint on a number of rôles that her name came to be identified with a repertory, the ‘Nilsson repertory’, and it was a broad one. She sang the operas of Richard Strauss and made a specialty of Puccini's TURANDOT, but it was Wagner who served her career and whom she served as no other soprano since the days of Kirsten Flagstad.

A big, blunt woman with a wicked sense of humor, Ms. Nilsson brooked no interference from Wagner's powerful and eventful orchestra writing. When she sang Isolde or Brünnhilde, her voice pierced through and climbed above it. Her performances took on more pathos as the years went by, but one remembers her sound more for its muscularity, accuracy and sheer joy of singing under the most trying circumstances.

Her long career at the Bayreuth Festival and her immersion in Wagner in general, began in the mid-1950s. No dramatic soprano truly approached her stature thereafter, and in the rôles of Isolde, Brünnhilde and Sieglinde, she began her stately 30-year procession around the opera houses of the world. Her United States debut was in San Francisco in 1956. Three years later she made her début at the Metropolitan Opera, singing Isolde under Karl Böhm, and some listeners treasure the memory of that performance as much as they do her live recording of the rôle from Bayreuth in 1966, also under Böhm. The exuberant review of her first Met performance appeared on the front page of THE NEW YORK TIMES on 19 Dec., 1959, under the headline, ‘Birgit Nilsson as Isolde Flashes Like New Star in 'Met' Heavens’."

- Bernard Holland, THE NEW YORK TIMES, 12 Jan., 2006