Product Description

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Genre: Classical Music
Media Format: Compact Disk
Rating:
Release Date: 13-JUN-2006

Track Listing

Disc 1:

1. Salome, opera, Op. 54 (TrV 215): Wie sch�n ist die Prinzessin Salome heute Nacht!
2. Salome, opera, Op. 54 (TrV 215): Nach mir wird Einer kommen
3. Salome, opera, Op. 54 (TrV 215): Ich will nicht bleiben
4. Salome, opera, Op. 54 (TrV 215): Siehe, der Herr ist gekommen
5. Salome, opera, Op. 54 (TrV 215): Jauchze nicht, du Land Pal�stina
6. Salome, opera, Op. 54 (TrV 215): Du wirst das f�r mich tun
7. Salome, opera, Op. 54 (TrV 215): Wo ist er, dessen S�ndenbecher jetzt voll ist?
8. Salome, opera, Op. 54 (TrV 215): Jokanann, ich bin verliebt in deinen Leib
9. Salome, opera, Op. 54 (TrV 215): Wird dir nicht bange, Tochter der Herodias?
10. Salome, opera, Op. 54 (TrV 215): Wo ist Salome?
11. Salome, opera, Op. 54 (TrV 215): Es ist kalt hier
12. Salome, opera, Op. 54 (TrV 215): Salome, komm, trink Wein mit mir
13. Salome, opera, Op. 54 (TrV 215): Sieh, die Zeit ist gekommen
14. Salome, opera, Op. 54 (TrV 215): Wahrhaftig, Herr, es w�re besser
15. Salome, opera, Op. 54 (TrV 215): Siehe, der Tag ist n�he

Disc 2:

1. Salome, opera, Op. 54 (TrV 215): Eine Menge Menschen wird sich gegen sie sammeln
2. Salome, opera, Op. 54 (TrV 215): Tanz f�r mich, Salome
3. Salome, opera, Op. 54 (TrV 215): Salomes Tanz
4. Salome, opera, Op. 54 (TrV 215): Ah! Herrlich! Wundervoll
5. Salome, opera, Op. 54 (TrV 215): Still, sprich nicht zu mir!
6. Salome, opera, Op. 54 (TrV 215): Salome, bedenk, was du tun willst
7. Salome, opera, Op. 54 (TrV 215): Man soll ihr geben, was sie verlangt!
8. Salome, opera, Op. 54 (TrV 215): Es ist kein Lau zu vernehmen
9. Salome, opera, Op. 54 (TrV 215): Ah! Du wolltest mich nicht deinen Mund k�ssen lassen, Jokanann!
10. Salome, opera, Op. 54 (TrV 215): Sie ist ein Ungeheuer, deine Tochter
11. Salome, opera, Op. 54 (TrV 215): Ah! Ich habe deinen Mund gek�sst

Product Details

• Amazon Sales Rank: #53897 in Music
• Brand: VIENNA PHILHARMONIC
• Released on: 2006-06-13
• Number of discs: 2
• Format: Original recording remastered
• Dimensions: .46 pounds

Customer Reviews

Still a sonic spectacular after all these decades
The sound is very vivid and immediate in this latest remastering of the classic 1961 recording, and you hear details in the exceedingly complex orchestration that you would not hear in the opera house (much better in this respect than the previous, original CD issue). Solti sounds in total command of both the sensual and visceral aspects of the work, aided by the full bodied and imposing playing of the Vienna Phil. Furthermore, the cast overall is very strong, even though Nilsson's Salome does not reach the heights of dramatic fervor that Leonie Rysenek achieved in her live recording with Bohm. Gerhard Stolze, however, really makes a meal of Herod, vividly bringing out both the character's sliminess and hysteria (only Vickers in his live recording with Kempe and Rysenek equals him, but, by contrast, conveys a more kingly imperiousness with his heroic style and sound).
Anyone who likes Salome should get this one.

Which Salome is the best on records?
Salome is a treacherous opera to cast, since the ideal soprano needs a voice of Wagnerian power coupled with an ability to sound sensuous and young. By common agreement the ideal portrayal came from Ljuba Welitsch, but her prime lasted little more than a decade in the late Forties and early Fifties; sadly, she was never captured in the studio. Off and on I've owned all the acclaimed recordings of this garish but irresistible opera, so I thought it would be interesting to comment on them.

Solti (1962) -- A blockbuster from the day it appeared, the combination here of Solti's hyper-kinetic conducting, Nilsson's gleaming vocal command, and the Vienna Phil. in peak form has kept this set at the top for over four decades. Decca's refurbished sound is less glaring than the original ADRM release. Some may complain that Solti misses the sensuousness of the score in favor of its lurid sensationalism, and critics have found Nilsoon nothing like a kittensih gril. Both accusations are true, yet the unique impact of this version speaks for itself. As Jokanaan, Eberhard Waechter is in much better voice than in his remake ten years later.

Leinsdorf (1969) -- RCA was bucking the tide to put the bel canto specialist Monserrat Caballe up against Nilsson, but she came out very well, offering a sinuous, creamy Salome whose spoiled petulance belies the psychopathology that is to come. Sherrill Milnes isn't very Germanic, but he's in prime voice for Jokanaan. RCA's recorded sound isn't demonstration quality like the Solti but is otherwise very good. Leinsdorf conducts proficienlty, better than his usual by far. It may sound as if all the virtues of this set don't add up, but that's not true: this is a non-sensationalist reading full of color and variety, a sensual pleasure where Solti is like sticking your finger into an electrical socket. Richard Lewis stands out as a Herod who actually sings every note and never lapses into Grand Guignol.

Bohm (1972) -- Austrian Radio released this stereo broadcast of a stunning live performance from the Vienna State Opera. The chief attraction is Leonie Rysanek, who comes close to Welitsch in her ability to combine power, nuance, femininity, and psychological intensity. Yet despite an incomparable lead, Waechter sounds dry and worn out as Jokanaan, reduced to shouting much of the role (no seductiveness in the voice at all). The recorded sound is dull, turning the great Vienna pit orchestra to a blur. There is casting in depth, to be sure, among the minor players. As Herod, Hans Hopf blares away, but he has the voice to make it sound convincing. Despite raves for Bohm's conducting, I couldn't hear much of it due to the muffled sound, and in other respects I didn't detect eath-shattering inspiration from him. I realize I am among the minority here.

Karajan (1977) -- As with their respective Ring cycles, Karajan comes at Salome with orchestral refinement in mind, Solti with raw power. It would be hard to imagine a more sensuous reading of the score than is offered here, once mroe by the Vienna Phil., and yet the scary, horrifying aspects of the opera seem to be lost. Hildegard Behrens, then a fresh Karajan discovery, does a wonderufl job encompassing the title role. She's not as powerful as Nilsson or as gripping dramatically as Rysanek, but this is a very credible job, and Behrens is in perfect voice. Jose Van Dam, a Karajan favorite, doesn't quite convince as Jokanaan -- he's neither saintly nor an intimidating fanatic -- but he is never less than an exemplary singer. Overall, the totality isn't as great as the sum of the parts. Salome isn't a Greek statue to be admired for her lovely smooth proporitons.

Sinopoli (1990) -- This is essentially a cast recording from a series of performances at the Deutsch Oper in Berlin, and as such it isn't always strong in the minor parts. However, the two leads are utterly spectacular. Cheryl Studer, at the very peak of her career, won rapturous praise for her ability to combine power and youth, with many critics comparing her to Welitsch. It may be that she needed the microphone to ride over Strauss's immense orchestra at times, but that's not a flaw in the studio. Bryn Terfel is the Jokanaan of our time, incredibly charismatic here in youth but just as good for Dohnanyi later on (in both the DVD and CD versions -- Terfel holds the stage visually with his natural command). Sinopoli is at his best in Strauss, and the only real drawback is DG's somewhat diffuse sound, which doesn't balance voices and orchestra as well as it should.

Having listed the pros and cons, is there one reading that surpasses the others? For many, that would be the Solti, which is an indispensable choice no matter which other version you own. I would rate the Sinopoli as totally satisfying, also, and I wouldn't want to miss Caballe and Rysanek in the title role. But I can understand why the live Bohm version from Vienna is so widely praised.

A Masterpiece of an Opera Recording. A Great Success!!
This is the first opera I ever bought. I bought it as a gift to a friend of mine, who kindly invited me over his house for a week in Santander. He let me make a copy, and until now, all I had was a copy of it. Now DECCA has remastered this excellent recording and published it in the DECCA The Original Legendary Recordings collection, and I bought it.
This is one of the best opera recordings ever produced, absolutely a must in any good opera collection, an spectacular production by John Culshaw that still today stands as a role model in the recording industry. Now it is even better, since this is a remastered edition of the original tapes. Solti -who ranks among my top 5 directors of all times- conducts fiercely the Vienna Philharmonic, with amazing results: colorful and wonderful orchestral sounds, masterful companion to the singers. Birgit Nilsson achieve a great success with her interpretation of this Jewish princess, absolutely compenetrated with Solti's direction, vocally perfect and with very accurate and successful expressivity. Stolze is just right for the attractive Herodia. All of other singers are in a very good shape also. The only 'weakness' of this recording is that the powerful voice of Nilsson does not match the idea of an 'innocent' 16 year old adolescent, but that doesn't prevent this to be THE Salome to go.
Bottomline: This is a MUST in every opera collection and THE Salome to go! Thanks for reading.
P.S. If you find my review helpful, vote YES (It does not mean you agree. It just means you found it helpful). You can read all my other reviews if you wish to. I modestly write them to help people form an opinion about movies, music and books, but if nobody reads them (if you don't vote I do not know if you did) there is no point in writing them.