Elektra, take two
I loved Seattle Opera's Elektra, which I saw on October 18th, so I decided to see it again. This time, I wanted to see the alternate cast, so I decided on the October 31st performance, which includes the same Elektra (Janice Baird) that I'd previously seen, along with the alternate Chrysothemis, Klytemnestra, and Aegisth: Carolyn Betty, Luretta Bybee, and Thomas Harper. I also got a subscriber discount, so I got much closer seats than my usual upper balcony.
First confirming a couple things: Alfred Walker really *does* have massive arms and chest. That guy could probably break me in half if he were so inclined. Also, the director-added combat between Orestes' men and Aegisth's still seems pointlessly distracting.
Between the opening night and the broadcast, I thought Janice Baird made a very good, if not necessarily thrilling Elektra. Tonight she was thrilling. It took a while for her voice to really warm up, but by the time she got to "Was bluten muss?" all the way to the end, she was white-hot with her righteous vengeance. An exciting performance: I brava-ed her until my throat went sore.
Carolyn Betty has a beautiful voice and a lovely vibrato. Actually, she reminded me a bit of Gundula Janowitz. I would love to hear her version of the Strauss Four Last Songs. Her low notes were also very strong, but her high notes, while secure, weren't all that interesting. I'm sure she'll make a mark in the Eva-Elsa-Elisabeth repertory.
Luretta Bybee seemed more of a lyrical than a dramatic Klytenmenstra. She didn't have the psychotic paranoia of Rosalind Plowright's performance, but many of the notes were better sung. Her death rattles were also a lot louder.
Thomas Harper is the traditional Aegisth: a party role for an aging Mime. He sings the notes, but not as beautifully as Richard Margison
I'm still overwhelmed with Janice Baird's greatness. If her Brunnhilde is half as exciting as her Elektra, then Gotterdammerung will be something for the ages.
Next opera: Le comte Ory by Rossini at Tacoma Opera.
First confirming a couple things: Alfred Walker really *does* have massive arms and chest. That guy could probably break me in half if he were so inclined. Also, the director-added combat between Orestes' men and Aegisth's still seems pointlessly distracting.
Between the opening night and the broadcast, I thought Janice Baird made a very good, if not necessarily thrilling Elektra. Tonight she was thrilling. It took a while for her voice to really warm up, but by the time she got to "Was bluten muss?" all the way to the end, she was white-hot with her righteous vengeance. An exciting performance: I brava-ed her until my throat went sore.
Carolyn Betty has a beautiful voice and a lovely vibrato. Actually, she reminded me a bit of Gundula Janowitz. I would love to hear her version of the Strauss Four Last Songs. Her low notes were also very strong, but her high notes, while secure, weren't all that interesting. I'm sure she'll make a mark in the Eva-Elsa-Elisabeth repertory.
Luretta Bybee seemed more of a lyrical than a dramatic Klytenmenstra. She didn't have the psychotic paranoia of Rosalind Plowright's performance, but many of the notes were better sung. Her death rattles were also a lot louder.
Thomas Harper is the traditional Aegisth: a party role for an aging Mime. He sings the notes, but not as beautifully as Richard Margison
I'm still overwhelmed with Janice Baird's greatness. If her Brunnhilde is half as exciting as her Elektra, then Gotterdammerung will be something for the ages.
Next opera: Le comte Ory by Rossini at Tacoma Opera.