She’s the most subtle interpreter since Welitsch , childlike, knowing, sexy and sinister, while her voice is radiantly beautiful. Should an effort be made to intensify the impact of the original in order to jolt modern listeners who are largely immune from the levels that a century ago sufficed to overwhelm audiences still immersed in Victorian propriety a burden further magnified by having to forego the visual aspect? In a less daring Covent Garden Decca video conducted by Christoph von Dohnanyi she remains fully robed and dances more conventionally, turning portions into an enticing pas de deux with Herod. Fuller Maitland assured readers that “music itself cannot be prostituted to base use, though various qualities incidental to music may be turned to the purposes of pornography. Her apostrophe is especially chilling, as she intones her depraved lines in a pure, sweet girlish timbre, adding an uncommon layer of perversion to a complex portrait of a brat way out of her depth. Jokanaan is the Hebrew name for John and is used throughout the play and opera.
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Conductor Erich Leinsdorf cites as his favorite examples of Strauss’s musical subtlety “Salome’s opening phrases tsrauss free rhythm that bespeak her restless flightiness,” tonal coloring that depicts the dampness of the cistern, the sudden thinning of the texture when Salome first sees the gaunt prophet to suggest the collapse of her fantasies, and Herodias singing in a key that clashes with the accompaniment as Herod proclaims “Your voice wearies me.
Her apostrophe is especially chilling, as she intones her depraved lines in a pure, sweet girlish timbre, adding an uncommon layer of perversion strauss salome sinopoli a complex portrait of a brat way out of her depth. In the Romantic era discretion ceded to ssinopoli graphic fantasies, often providing an opportunity to paint Salome partially or fully nude in the throes of an erotic dance.
Both epic and sinopolii, Schmitt’s score ends in a savage dance of irregular rhythm that Stravinsky admired and that may have prompted the finale of his Rite of Spring.
Norman’s light vibrato hints at youthfulness toward the top of her wide range and spares us the full diva treatment at the endsstrauss her creamy, near-mezzo tone predominates and denies much sense of evolution strauss salome sinopoli, in an unusual role reversal, sounds deeper than her mother.
Thus it seems appropriate that this Salomehis penultimate recording, combines the conventional style of the late Strauss operas with the lush romanticism of the Strauss tone poems, abetted by the famed opulent sound of the Vienna Philharmonic. Composers, too, were strrauss.
Richard Strauss: Salome
Jokanaan, thou wert beautiful. Of the various complete recordings, five are outstanding. The facts, references and quotations in this article are taken from the following sources.
Experts have acclaimed strauss salome sinopoli as the greatest Salomes on record. Overall, this remains a fine, idiomatic realization that grows with familiarity. In her third studio recording no other soprano boasts even two etrauss, Goltz has lost the character, appeal and control of her former outings and instead shakes all her held notes with fearsome tremolo and sounds like an aging diva.
R. STRAUSS Salome / Sinopoli – 2 CDs / Download – Buy Now
I will bite it with my teeth strausss one bites strauss salome sinopoli ripe fruit. Should an effort be made to intensify the impact of the original in order to jolt modern listeners who are largely immune from the levels that a century ago sufficed to overwhelm audiences still immersed in Victorian propriety a burden further magnified by having to forego the visual aspect?
Also enlightening is the sixth side, which presents the last three minutes of the Dance with more grace and inflection than power or mystery, yet culminating in a potent timpani-fueled climax.
The Burial of Salome. Szlome focusing on the play, early critics tended to dismiss the music as largely needless.
Strauss: Salome / Sinopoli, Studer, Terfel, Rysanek
Perhaps because both strauss salome sinopoli and cast had primarily local albeit worthy reputations, this recording is often overlooked. She does not take it off. Actually a recorded radio broadcast, it benefits from the continuity of a live performance without expending the considerable energy required for staging and the inevitable resulting problems of balance.
Her depiction of Salome is of an aloof, coldly calculating princess, whose pure tone admits no hint of grace or doubt to intrude upon a tightly-focused temperament, an approach that melds well with Reiner’s reputation for nuanced precision.
I find myself as interesting as Napoleon or Alexander. Georg Solti’s Decca set is still the best if you like the opera done at full, unsubtle throttle throughout. Richard Strauss They further grope to explain the irony of composing a radical and decadent opera concurrently with a tone poem celebrating blissful domesticity.
Elsewhere, though, the sting needed to fully convey the expressionist impact is veiled beneath glossy execution and the final chords are bereft of their needed shock. Much of Herod’s lines, even when agitated, are nestled within the instrumentation, as if to depict him as a petty man, strauss salome sinopoli to control his surroundings, much less his wife or daughter.
The instrumentation is complex, creatively utilizing a huge orchestra with strings divided into as many strauss salome sinopoli 11 parts to achieve extraordinary effects, including multiple harmonies. Indeed, Wilde presented Strauss salome sinopoli with a copy of the play inscribed, “To Aubrey, the only artist who, besides myself, knows what the dance of the seven veils is, and can see that invisible dance. The perfect gift for the classical music enthusiasts!
Appropriately, RCA’s sonics are far more natural than Decca’s here, too, I’m judging from vinyl yet with creative details. One of the great moments in recording history. Audio recordings, of course, avoid such issues altogether, leaving visualization of the entire Dance to the listener’s imagination. Indeed, his reading is if anything on the swift side, his speeds similar to those of Leinsdorf, never one to linger.
What pleased me more than anything was her wonderful control of sweet pianissimos, as at ”Lass mich ihn beru”hren dein Leib” ”Let me touch your body” in her attempted seduction of Jokanaan. Indeed, the text all but demanded a radical musical setting, strauss salome sinopoli Strauss amply provided.
Studer expresses Salome’s wheedling, spoilt nature, strong will, and eventual ecstasy in tones apt for every aspect of the Read more strenuous role.