Strauss - Salome - Sinopoli

Richrad Strauss (1864-1949): Salome - Giuseppe Sinopoli - Orchester der Deutschen Oper Berlin
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 460MB
Label:DG | Year of release: 1991 | DDD

Herodes: Horst Hiestermann
Herodias: Leonie Rysanek
Salome: Cheryl Studer
Jochanaan: Bryn Terfel

Orchester der Deutschen Oper Berlin
Giuseppe Sinopoli

MUSICWEB REVIEW

The finest studio performance remains Sinopoli's on Deutsche Grammophon with Cheryl Studer in the title role [DG 431810-2]. Like this conductor's recording of Elektra this performance has an over-the-top majesty and decadence that makes hearing this opera such a thrilling experience. Sinopoli invests his performance with a true sweep that belies the fact it is studio made. Moments such as the incandescence of the Salome-Jokanaan dialogue, the suicide of Narraboth, the dance of the Seven Veils and the eventual kissing of Jokanaan's severed head are gloriously graphic in a way none of the live recordings are, with the possible exception of Rudolf Kempe's. The swelling, nauseous intensity of the moment Salome kisses the Baptist's lips, tasting his blood, is presented in such sonorous sound it is hard not to be repelled by this recording. The violence of Strauss' score is here unravelled in a way Karajan possibly imagined it to be, but he couldn't get the Vienna Philharmonic to play for him in such a barbarous fashion as Sinopoli does with his Berlin Opera forces. The brass fanfare that initiates the final scene is here flourished with caustic bite, the stabbing high double basses that suggest Salome's sexualised breathing during the execution are here as unwanted as a knife in the back but compelling because of it. Orchestrally, Sinopoli plumbs depths that are shockingly vivid but what a sensuous sound he produces from strings during the great climax of the final scene. This is the most clearly shaped of any interpretation I have heard, the most dramatic and the most amplified of all Salome's on disc. Add to this Studer's magnificent Salome - vibrant, fresh, thrilling in the upper registers and sensuous of tone and you have what could be the ideal recording of this work. She recalls Welitsch in many ways - her deft use of pianissimo, her conviction at dramatising Salome's crazed lust and necrophilia in singing of astonishing range and power, and her empathy in a role difficult to surmount. Terfel, as already suggested, is magnificent as the Baptist, and Rysanek, in one of her final recordings, is a colourful Herodias.

Which are the recordings to go for? Sinopoli's studio recording offers a startlingly vivid experience of this opera at it most grotesque. It has a superbly sung lead, graphic orchestral playing and superb sound. Ljuba Welitsch on her 1952 recording with Fritz Reiner and an unmatched cast is also a key - perhaps the key - recording. Leonie Rysanek's recording with an inspired Rudolf Kempe from France in 1974 is also magisterial in a way opera recordings rarely are. No library would be complete without all of these recordings in it - each offering us something uniquely revelatory about this work. Get the Reiner, however, and you will perhaps hear more glories in this work than anywhere else. It really is that special. For those intent on sacrificing themselves before the alter of savagery and obscenity - then the recording that perhaps comes nearest to recalling the tempest of outrage that first greeted the work will surely be Sinopoli's. It is also that special. Opera recordings rarely come near the perfection of these two interpretations.


Marc Bridle

CD1:

1. "Wie schön ist die Prinzessin Salome heute Nacht!"
2. "Nach mir wird Einer kommen"
3. "Ich will nicht bleiben"
4. "Siehe, der Herr ist gekommen"
5. "Jauchze nicht, du Land Palästina"
6. "Laßt den Propheten herauskommen"
7. "Wo ist er, dessen Sündenbecher jetzt voll ist?"
8. "Er ist schrecklich"
9. "Wer ist dies Weib, das mich ansieht?"
10."Zurück, Tochter Sodoms!"
11."Dein Leib ist grauenvoll"
12."Zurück, Tochter Sodoms!"
13."Niemals, Tochter Babylons, Tochter Sodoms,...Niemals"
14."Wird dir nicht bange, Tochter der Herodias?"
15."Lass mich deinen Mund küssen, Jochanaan!"
16."Du bist verflucht"
17."Wo ist Salome?"
18."Salome, komm, trink Wein mit mir"
19."Siehe, die Zeit ist gekommen"
20."Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben!"
21."Siehe, der Tah ist nahe"
22."O über dieses geile Weib, die Tochter Babylons"

CD2:

1. "Tanz für Mich, Salome"
2. Salome's Dance of the Seven Veils
3. "Ah! Herrlich! Wundervoll, wundervoll!"
4. "Salome, ich beschwöre dich"
5. "Salome, bedenk, was du tun willst"
6. "Gib mir den Kopf des Jochanaan!"
7. "Es ist kein Laut zu vernehmen"
8. "Ah! Du wolltest mich nicht deinen Mund"
9. "Sie ist ein Ungeheuer, deine Tochter"
10."Ah! Ich habe deinen Mund geküsst, Jochanaan"

CD1:

1. "Wie schön ist die Prinzessin Salome heute Nacht!"
2. "Nach mir wird Einer kommen"
3. "Ich will nicht bleiben"
4. "Siehe, der Herr ist gekommen"
5. "Jauchze nicht, du Land Palästina"
6. "Laßt den Propheten herauskommen"
7. "Wo ist er, dessen Sündenbecher jetzt voll ist?"
8. "Er ist schrecklich"
9. "Wer ist dies Weib, das mich ansieht?"
10."Zurück, Tochter Sodoms!"
11."Dein Leib ist grauenvoll"
12."Zurück, Tochter Sodoms!"
13."Niemals, Tochter Babylons, Tochter Sodoms,...Niemals"
14."Wird dir nicht bange, Tochter der Herodias?"
15."Lass mich deinen Mund küssen, Jochanaan!"
16."Du bist verflucht"
17."Wo ist Salome?"
18."Salome, komm, trink Wein mit mir"
19."Siehe, die Zeit ist gekommen"
20."Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben!"
21."Siehe, der Tah ist nahe"
22."O über dieses geile Weib, die Tochter Babylons"

CD2:

1. "Tanz für Mich, Salome"
2. Salome's Dance of the Seven Veils
3. "Ah! Herrlich! Wundervoll, wundervoll!"
4. "Salome, ich beschwöre dich"
5. "Salome, bedenk, was du tun willst"
6. "Gib mir den Kopf des Jochanaan!"
7. "Es ist kein Laut zu vernehmen"
8. "Ah! Du wolltest mich nicht deinen Mund"
9. "Sie ist ein Ungeheuer, deine Tochter"
10."Ah! Ich habe deinen Mund geküsst, Jochanaan"

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