i was lucky enough to see this twice in one week at the met. the second one was this taping. it was unimaginably stupendous in person. the audience went rightfully insane! we'll never see her like again! so lucky to have witnessed her in her greatness!

It's wonderful that this document exists of course, but her great ELEKTRAs were between 1965 and 1975, when the voice still had that sledgehammer top range. Here one is full of admiration for her stamina at age 62+, but she is documented too late. Thankfully there is ample audio evidence of her absolute mastery of the role from her prime years. I heard her sing it in Vienna in 1973 and it's the peak operatic experience of my life. The astonishing top C's, the volume and the startling Recognition Scene where she vaulted those ppppp high top notes and swelled them to FFFFFF! The geshrei that greeted her first curtain call and the 40 minutes of applause that followed....

What a compilation! Music that shatters and that only Strauss can compose.

At this point Nilsson was in that luxurious trap: the only singer she could be compared to was her younger self, a frightening prospect for anyone else and a new one for her. Still so much voice though, still astonishing ❤️

"You're now watching the Birgit Nilsson."

Elektras dance and the ending - almost unbelievable; what music, what sining, what emotions!

The magnificence in this music sung by these two titans in opera is just more than anyone can experience. Stupendous 👏👏

Birgit Nilsson truly embodied Elektra's avenging anguish, troubled pain, and steely resolve with abandon thanks to her super sturdy technique and how she has kept her voice in mint condition for several years, which I have to applaud her for.

At the age of 62….sang her ass off!

shut up and dance...I love it

As much as I love Birgit Nilsson as Elektra, I also love Rose Pauly, Gertrude Rünger, Anny Konetzni, Erna Schlüter, Gertrude Grob-Prandl, Ingrid Steger, Sigrid Kehl, Nadezda Kniplova, Danica Mastilovic, Janis Martin, and Isolde Elchlepp because of their sheer vocal power, especially where Grob-Prandl is concerned with those super blazing high notes and laser-like incision to convey Elektra's fury enveloped in the need for power and vengeance against Klytämnestra and Aegisth.

My favorite parts would be Elektra's dance and the section where Elektra persuades her sister for her help.

I enjoyed your commentary!

aren't the last words rather "Orest ! Orest !" ?

Was the live sound not available? In any case, this was great to see. Thanks for posting.

I am big fan of Nilsson, though in this opera prefer Astrid Varnay (but Elektra is too much modern for me- in XX century opera I listen most willingly Puccini and Britten). Varnay is probably my favourite soprano (ofc- after Callas). Thanks for links to Rossini operas :). Have you full recordings of Siepi's performance in Parsifal?

As much respect, I harbour for Ms Nilsson, and I do, I must confess that there have been many Elektras far better than her, especially considering the state of vocal degeneration in her later years. Varnay and Borkh come to mind when speaking of two singers who have more than just conquered but also defined the role, whose vocal and dramatic means were either greater or equal to those of Nilsson. Rose Pauly is a soprano of the olden days who might be the best Elektra on record, according to my taste of course. BUT Nilsson is the only singer I am aware of, that sang "Was bluten muss?!" without the cut as Strauss had intended, she also had an instrument which through its sheer size could summon the hysteria and craze that no doubt possess Elektra throughout the opera. All in all, I am rather disappointed you did not include all the other great women who sang this role, though quite honestly I am rather sure that the best Elektras sang before recording was established. As for our recorded age, we still wait for the chosen one to appear that we can call a definitive Elektra.

Flat as hell

Dreadful

Sorry but I need to be honest - there is no emotion in her voice or physical performance. She is sadly guilty of the same problem both vocally and physically and that is overacting. If you want to hear a good nuanced rendition of Elektra, look up Kirsten Flagstad singing the aria "Orest". In that one aria, she does what, sadly, Birgit failed to learn to do, and its a shame because her vocal technique alone IS solid, but that alone does not make a good performance. You need to learn and have both solid technique, dynamic, declamation, and delivery skills - as Maria Callas and a minority of truly great opera singers proved.