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| Electra |
| Sung by |
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| Christina Lamberti |
| Dramatic coloratura. Daughter of King Agamemnon of Argos. |
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| SFO Electra History |
| Aria Database for Electra |
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| This site and all related sites are for entertainment and reserch and contains information that anyone can get by using a search engine, such as Google./ This site is a sub-site of SF ART World // Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License |
| As Electra, Carol Neblett brought down the house with an aria that was nothing less than hysterical. Her bitingly brillian performance was amazing with her hands jerking before her face like thunderboldts./ pg 350 - 1922-1978 SFO-Bloofield |
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| Vaness' forays into Verdi have slightly tarnished her Mozart. Elettra's opening "Tutto nel cor vi sento" suffered from odd breathing, smudged runs and uneasy articulation. Still, her voice makes an apt contrast to Bonney's brighter soprano and she tore into her parting bravura showpiece with the ferocity of one who has been cosmically rebuffed. / Review |
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| Soprano Iano Tamar, also in her debut here, lends impressive acting chops and a fiery vocal technique to her role, never more persuasively passionate than in her final Act III aria. / Review
As Ilia�s rival, Elettra, Iano Tamar (from the country of Georgia) showed a keen sense of stagecraft. She knew exactly how to gesture or turn her head in order to create a perfect stage image. Vocally, she was less successful. Her dark timbre appealed to me at first, but soon it became clear that she needed more focus and point to project the fiercer aspects of her character. Elettra�s final aria �d�Oreste, d�Aiace� (Within my breast I feel the torments of Orestes and Ajax), with such lines as �tear out my heart, you horned serpents, or a sword will end my pain� illustrated by shriek-like figures of descending staccato notes, should send chills down the spine. Instead, I was left wondering why she was so composed and vocally sedate in this moment of high passion./ SFCV |
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