Rating: 
Summary: Grotesque a la Strauss
Review: An excellent production by the Vienna State Opera. Comparisons with the Met production featuring Birgit Nilsson are inappropriate - like comparing apples and oranges - as the interpretations are not comparable. The Vienna version emphasizes the "black and bright" nature of the drama (Hofmannsthal's own phrase) with stark, almost monochromatic sets. Marton makes a very convincing Elektra and Fassbaender's Klytemnestra is truly ghoulish, though a little bit over the top and one-dimensional. Klytemnestra is a woman on the verge and the actress portraying her must keep this in mind - to be convincing, she must walk a fine line between madness and sanity without falling over the precipice, and this is where Mignon Dunn's performance, in the Met version, is superior, imbued with a regal and scrupulously delineated dementia that almost manages to win sympathy. It is in the central Klytemnestra scene that the Vienna version suffers. In the Met version, Elektra's numbingly cold indifference to her mother's suffering, as portrayed by Nilsson, chills the soul. In the Vienna version, the conflict between mother and daughter is never convincingly established - and this conflict is central to the drama: the mother's need to nurture and dominate collides head-on with the daughter's alienation and need to avenge a father and an older sister. These needs are irreconcilable and tragedy results. Nevertheless, Klyemnestra's entrance scene in this version, amidst the requisite flickering torches and with Strauss' pounding score, is a particularly effective piece of staging. The production captures the almost claustrophobic terror of Sophocles' drama brilliantly. Any competent performance of this opera should leave the viewer emotionally drained - and this production certainly had a cathartic effect on this listener. Almost a century after it was written, Strauss' score remains a shocker - a marvel of inspiration and compositional technique. Though I still prefer the Nilsson/Rysanek/Dunn version by the Met, I thoroughly enjoyed the Vienna production: if gritty realism and raw emotion are what you look for in opera, this production will certainly not disappoint.
Rating: 
Summary: A worthy contender
Review: An excellent production by the Vienna State Opera. Comparisons with the Met production featuring Birgit Nilsson are inappropriate - like comparing apples and oranges - as the interpretations are not comparable. The Vienna version emphasizes the "black and bright" nature of the drama (Hofmannsthal's own phrase) with stark, almost monochromatic sets. Marton makes a very convincing Elektra and Fassbaender's Klytemnestra is truly ghoulish, though a little bit over the top and one-dimensional. Klytemnestra is a woman on the verge and the actress portraying her must keep this in mind - to be convincing, she must walk a fine line between madness and sanity without falling over the precipice, and this is where Mignon Dunn's performance, in the Met version, is superior, imbued with a regal and scrupulously delineated dementia that almost manages to win sympathy. It is in the central Klytemnestra scene that the Vienna version suffers. In the Met version, Elektra's numbingly cold indifference to her mother's suffering, as portrayed by Nilsson, chills the soul. In the Vienna version, the conflict between mother and daughter is never convincingly established - and this conflict is central to the drama: the mother's need to nurture and dominate collides head-on with the daughter's alienation and need to avenge a father and an older sister. These needs are irreconcilable and tragedy results. Nevertheless, Klyemnestra's entrance scene in this version, amidst the requisite flickering torches and with Strauss' pounding score, is a particularly effective piece of staging. The production captures the almost claustrophobic terror of Sophocles' drama brilliantly. Any competent performance of this opera should leave the viewer emotionally drained - and this production certainly had a cathartic effect on this listener. Almost a century after it was written, Strauss' score remains a shocker - a marvel of inspiration and compositional technique. Though I still prefer the Nilsson/Rysanek/Dunn version by the Met, I thoroughly enjoyed the Vienna production: if gritty realism and raw emotion are what you look for in opera, this production will certainly not disappoint.
Rating:
Summary: Dark, manic, paranoid production -- loved it!
Review: Despite what other reviewers have said, Eva Marton is, in this production, superior to Brigit N's Elektra done at the Met. In fact all the singers in the Vienna State Opera production throw themselves body and soul into their roles. The set / costume design is outstanding, dark and otherworldly but never distracting from the performances or Strauss' superior music. The one enormous set-piece is a 100-foot statue of the murdered Agamemnon, the huge head having fallen to the ground. Thus Agamemnon has an overpowering albeit mute presence throughout the show. Very effective I thought. Klytemnestra is simply odious. She looks like a grotesque parody of Tammy Faye Baker doing a "Mommy Dearest" Joan Collins impression, but with complete sincerity. That is Klytemnestra and her maid pictured on the DVD case by the way. Marton's Elektra is strong, insane, tear-streaked and oddly sympathetic.
Rating:
Summary: Dark, manic, paranoid production -- loved it!
Review: Despite what other reviewers have said, Eva Marton is, in this production, superior to Brigit N's Elektra done at the Met. In fact all the singers in the Vienna State Opera production throw themselves body and soul into their roles. The set / costume design is outstanding, dark and otherworldly but never distracting from the performances or Strauss' superior music. The one enormous set-piece is a 100-foot statue of the murdered Agamemnon, the huge head having fallen to the ground. Thus Agamemnon has an overpowering albeit mute presence throughout the show. Very effective I thought. Klytemnestra is simply odious. She looks like a grotesque parody of Tammy Faye Baker doing a "Mommy Dearest" Joan Collins impression, but with complete sincerity. That is Klytemnestra and her maid pictured on the DVD case by the way. Marton's Elektra is strong, insane, tear-streaked and oddly sympathetic.
Rating:
Summary: GIVING IT THEIR ALL
Review: For a truly riveting operatic experience, you must see/hear this DVD! Eva Marton is at the very height of her operatic career giving vocally and dramatically everything she had (and that was a lot in the 1980's when this performance was taped). I don't feel that any other singer could give more than she does in this role. Cheryl Studer is awesome and also at the height of her powers. This performance proves that Cheryl should have stuck with the Germans and avoided, like the plague, Lucia and Violetta. What a career she could have had!! Fassbaender is down right scary playing a truly demented and crazed mother. All of the aforesaid singers are really into their roles giving performances of a lifetime.The production, at the time, was controversial and was booed at this performance. Now it is simply exciting providing a memorable Elektra. After all, this ain't no fairy tale and this production does NOT treat it as one. With Abbado directing the hell out of this score, this operatic performance will stick with you for the rest of your life. So if you want to see opera at its most exciting and at its very darkest buy this DVD.
Rating:
Summary: GIVING IT THEIR ALL
Review: For a truly riveting operatic experience, you must see/hear this DVD! Eva Marton is at the very height of her operatic career giving vocally and dramatically everything she had (and that was a lot in the 1980's when this performance was taped). I don't feel that any other singer could give more than she does in this role. Cheryl Studer is awesome and also at the height of her powers. This performance proves that Cheryl should have stuck with the Germans and avoided, like the plague, Lucia and Violetta. What a career she could have had!! Fassbaender is down right scary playing a truly demented and crazed mother. All of the aforesaid singers are really into their roles giving performances of a lifetime. The production, at the time, was controversial and was booed at this performance. Now it is simply exciting providing a memorable Elektra. After all, this ain't no fairy tale and this production does NOT treat it as one. With Abbado directing the hell out of this score, this operatic performance will stick with you for the rest of your life. So if you want to see opera at its most exciting and at its very darkest buy this DVD.
Rating: 
Summary: Marton disappoints!
Review: I admit that Marton is past her prime in this recording, and that a wobble does enter her voice, but who cares! What a dynamic performance. She acts it without holding back AT ALL. And her singing is all out emotion. I am usually a proponent of "beautiful singing" even in German music, but Marton is so seductively Elektra I could care less that her voice is less than perfect, it is a pleasing sound, once call tell that it was at one time exquisitely beautiful, but that it has been marred by time, and circumstance....hmmm kind of like Elektra. If you want the best production/performance of Elektra this is it. period.
Rating:
Summary: Marton a little wobbley but who cares, she is Elektra
Review: I admit that Marton is past her prime in this recording, and that a wobble does enter her voice, but who cares! What a dynamic performance. She acts it without holding back AT ALL. And her singing is all out emotion. I am usually a proponent of "beautiful singing" even in German music, but Marton is so seductively Elektra I could care less that her voice is less than perfect, it is a pleasing sound, once call tell that it was at one time exquisitely beautiful, but that it has been marred by time, and circumstance....hmmm kind of like Elektra. If you want the best production/performance of Elektra this is it. period.
Rating:
Summary: greatness!!
Review: One of the most intense performances ever. In (any!!) music category!!! look at Marton and Abbado at the end! Totally out of this world. The sets are nightmare stuff. No wonder there is some booing at the end. Those old folks at the audience probably couldn't watch it for it's a life shortening performance for people with weak hearts. Buy it!!
Rating:
Summary: daddy's little girl
Review: This is a particularly dark production in every sense of the word...with the exception of Chrysothemis' red undershirt, the sets and costumes are predominately navy blue and black, with spots of light for illumination, and it works well for this murder and revenge story. Richard Strauss certainly composed some powerhouse parts for women, and this one could be compared to Salome in the sense that the title role is on stage throughout the entire opera, though the score is not as "accessible" and of course, Electra doesn't get to do that dance with the veils... My favorite scene is when Orestes shows up...the duet is extraordinary, and the music for Klytemnestra's murder never fails to give me chills. Eva Marton is brilliant as Electra. She puts her heart and soul into it, at one point singing with tears streaming down her face. Claudio Abbado does a fabulous job with this difficult score, Brigitte Fassbänder is stupendous as Klytemnestra, and Cheryl Studer excellent as Chrysothemis. Other good performances come from Franz Grundheber as Orestes, and James King as Aegisthus. The subtitles make the plot understandable, and it comes with a little insert that tells the story. Total running time (with the curtain calls) is 1:48. If you're a die-hard German opera fan, you're going to love this...otherwise, you might last about 15 minutes...and miss all the good parts ! To be honest, this one isn't easy, but rewarding if you stick with it...it's great Greek drama, and Strauss at his best.
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