Who gave the best performance of "Der Hölle Rache"?

@pianoman1 said
Diana Damrau all day long. The energy and passion of her performance outweighs any slight technical issues. I agree with other posters that because this such a difficult coloratura aria it is often so cringeworthy as to be almost comical (Florence Foster Jenkins!).

If we look at the whole package (singing and acting combined) then Diana Damrau is a good choice. Her vocals aren't as good as some of the others, but she deserves credit for her delivering a rounded performance.

Natalie Dessay is similar in that regard.

Diana Damrau: A well-rounded performance. The vocals aren't perfect but her portrayal makes up for it.

Erika Miklósa: I'm not prejudiced against the unconventional, but this interpretation just isn't what I'm looking for.

Kim Soo-Yeon: Could she look more terrified? Poor woman - her singing is strangled. Perhaps the tessitura is slightly mismatched for her.

Lucia Popp: Too slow for me. It makes it seem out of character for the Queen of the Night. Some of the staccatos sound out of tune.

Cristina Deutekom: As I said before, this is my favourite performance singing-wise. Of course, she is not acting.

Susanne Elmark: An interesting interpretation of the staccatos. Also, I think the libretto is in Danish instead of German.

Sumi Jo: I can't really form an opinion about this performance. Her tone is good, but the recording is terrible.

Natalie Dessay: Similar to Diana Damrau - a good combination of acting and singing. I think her singing is slightly better and her acting is slightly worse. It is marginal, though.

Joan Sutherland: The top staccatos are quite forced.

Luciana Serra: It really is a tiny quibble, but I think she stretches the first syllables of the words at the beginning a little too much. It makes it sound like a double dotted crotchet and semiquaver instead of a dotted crotchet and quaver. Again, a tiny gripe, but I prefer the syllables to be slightly more even. Her staccatos are quite sharp, although a little strained.

Edda Moser: Quite a dramatic interpretation. One of my favourites.

Edita Gruberová: Her rhythm is slightly off in some places. I think her dynamics don't always fit.

Those are just my opinions - of course, everyone perceives things differently! I'd love to hear more about what others think.

@torunn said
Why is she lightweight in your opinion?

Perhaps I was too critical....yes, a lovely, warm and mellow voice well suited to Desdemona, the Countess etc. but no match for, say, Jessye Norman or Kirsten Flagstad for the big dramatic roles, in my view.

@pianoman1 said
Perhaps I was too critical....yes, a lovely, warm and mellow voice well suited to Desdemona, the Countess etc. but no match for, say, Jessye Norman or Kirsten Flagstad for the big dramatic roles, in my view.

I don't listen to much opera, just opera music sometimes. Kiri Te Kanawa, as you say, has a warm, mellow voice and she has a lovely personality. I mix these things.