Evelyn and Anne were on fire! it was such a life experience to watch Evelyn (as nurse) in Die Frau ohne Schatten under Thielemann at the Semperoper a few weeks ago.
Roles are for two dramatic sopranos. Yes even if Chrysothemis is shorter and seems ”easier”. Schwanewilms is more of a big lyric suitable for less passionate roles as this one, she also cheats now and then here (Omitting forte high notes or cutting them short). Herlitzius is neither a true dramatic soprano but has gained a way to come around this still delievering something engaging also vocally even if strident and wobbly. (Smaller voice than Gwyneth Jones for example) Both sing off pitch several times here.
I will watch Herlitzius sing the old Cytemnestra in Napoli at Teatro San Carlo in September. the Elektra role is probably off limits after 60 years old.
How is a professional opera singer this consistently out of tune? Sometimes Chrysothemis is fine, most of the time it's like a quarter tone sharp. The orchestra and Elektra both sound magnificent, however.
Epic in every aspect. Two exceptional voices, colours, visions. Might not be easy when hearing them for the first time, but these two women made an interpretation of these roles that is truly committed to the score, and the emotional build-up of these characters.
The Elektra here is very much in the mold of G. Jones. Quite flooding in tone and very much to the point. The woman in burgundy is a rather steady if not inspired Chrysothemis. The orchestra is glorious and sensitive enough to the voices with subtle dynamics tin this huge score.
Schwanewilms, the one in burgundy, I believe is the one that replaced Deborah Voigt in the now infamous black cocktail dress production of Ariadne auf Naxos.
Do you really think so? I saw Jones twice as Elektra and, despite her usual scooping and unsteadiness, she had complete command of the music. She never seemed to tire. Herlizius, on the other hand, seems to have gone way past her resources, and resorts to screaming.
@@wotan10950 I kind of get what the original poster means. Both Jones and Herlitzius sing bright. But as draganvidic notes, Jones had a heavier voice, and I think the momentum of the score gave her strength to power through even on her off days. Elektra was a great role for Jones. I have to say though that I find Thielemann's conducting very limp. There is zero of the juice conjured by Bohm, Solti, or even Levine. He is not helping either of the singers here.
THAT IS NOT, I REPEAT, NOT, THE BERLIN PHIL!!! BUT THEY ARE A MAGNIFICENT BAND!! ONE OF THE BEST STAGED ELECTRA FINALE'S I'VE HEARD!!!!! WANT TO GUESS THE ENSEMBLE?
yes, Berlin Philarmonie is the building (As written in the descritpion). B. Philarmoniker are the orchestra. this is the Staatskapelle Dresen playing in the Berlin Philarmonie.
Evelyn and Anne were on fire! it was such a life experience to watch Evelyn (as nurse) in Die Frau ohne Schatten under Thielemann at the Semperoper a few weeks ago.
Roles are for two dramatic sopranos.
Yes even if Chrysothemis is shorter and seems ”easier”.
Schwanewilms is more of a big lyric suitable for less passionate roles as this one, she also cheats now and then here (Omitting forte high notes or cutting them short).
Herlitzius is neither a true dramatic soprano but has gained a way to come around this still delievering something engaging also vocally even if strident and wobbly.
(Smaller voice than Gwyneth Jones for example)
Both sing off pitch several times here.
Agreed. I found Chrysothemis a bit squeaky. Still I have admiration for any professional singer attempting these roles.
I will watch Herlitzius sing the old Cytemnestra in Napoli at Teatro San Carlo in September. the Elektra role is probably off limits after 60 years old.
Such an awful vibrato Elektra!
How is a professional opera singer this consistently out of tune? Sometimes Chrysothemis is fine, most of the time it's like a quarter tone sharp. The orchestra and Elektra both sound magnificent, however.
Dresden Staatskapelle, arguably the finest orchestra on the planet.
Epic in every aspect. Two exceptional voices, colours, visions. Might not be easy when hearing them for the first time, but these two women made an interpretation of these roles that is truly committed to the score, and the emotional build-up of these characters.
Mediocre singing even if Herlitzius gives a lot but also of what she doesn’t have.
That is amazing, perfect.
The Elektra here is very much in the mold of G. Jones. Quite flooding in tone and very much to the point. The woman in burgundy is a rather steady if not inspired Chrysothemis. The orchestra is glorious and sensitive enough to the voices with subtle dynamics tin this huge score.
Smaller voice than Dame G J
Schwanewilms, the one in burgundy, I believe is the one that replaced Deborah Voigt in the now infamous black cocktail dress production of Ariadne auf Naxos.
Do you really think so? I saw Jones twice as Elektra and, despite her usual scooping and unsteadiness, she had complete command of the music. She never seemed to tire. Herlizius, on the other hand, seems to have gone way past her resources, and resorts to screaming.
@@wotan10950 I kind of get what the original poster means. Both Jones and Herlitzius sing bright. But as draganvidic notes, Jones had a heavier voice, and I think the momentum of the score gave her strength to power through even on her off days. Elektra was a great role for Jones. I have to say though that I find Thielemann's conducting very limp. There is zero of the juice conjured by Bohm, Solti, or even Levine. He is not helping either of the singers here.
All a bit shrieky
THAT IS NOT, I REPEAT, NOT, THE BERLIN PHIL!!! BUT THEY ARE A MAGNIFICENT BAND!! ONE OF THE BEST STAGED ELECTRA FINALE'S I'VE HEARD!!!!! WANT TO GUESS THE ENSEMBLE?
No.
yes, Berlin Philarmonie is the building (As written in the descritpion). B. Philarmoniker are the orchestra. this is the Staatskapelle Dresen playing in the Berlin Philarmonie.
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