Although Wagner's operas(music-dramas)are my favorites, Strauss's "Salome" and "Der Rosenkavalier" are right up there along with them.
Strauss's characterization, musical portrayal of Salome, is in my opinion, his supreme operatic achievement. He and his librettist's depiction of her, are admittedly, fantastical; but how enthralling, sickening, yet spell-bindingly hypnotizing.
Love? Abhor? Endlessly fascinating? Disgusting?
What's your assessment? What, which are your preferences of the artist and conductorial interpretations: recorded or live?
The one that most deeply affected me, was by Fritz Reiner when he was with the Met, and I think she was a Hungarian soprano, Ljuba Welitsch(had to look-up the spelling for her).
One word: magnificent.
And please, only thoughtful, meaningful responses: no "off the top of my head".
Wotan Gustav Mahler was firmly convinced that Salome was one of the greatest masterpieces of his time.
Mahler麓s verdict was not only perceptive but courageous and it has been proved right, for Salome remains one of the most exciting and compelling experiences the operatic stage has to offer.
The subject of Salome was suggested to Strauss by a young Viennese writer, Anton Lindner. It was a subject which appealed strongly in the fin de si猫cle artistic climate, for its combinaton of the biblical, erotic and murderous.
Today we are not shocked by Salome but we are still stunned and astounded by the audacity and excitement of the score, the cunning way in which it depicts the depravity of its main characters and yet remains predominantly lyrical, with many passages of the utmost delicacy and restraint.
Strauss' imaginative invention in Salome is at its most potent in the closely detailed dramatic characterisations.
Ljuba Welitsch was undoubtedly the Salome of her time, she recorded it live twice with Reiner (what a marvelous Straussian) in New York and with Beecham in London.
I would also recommend the Clemens Krauss with Cristel Goltz, Georg Solti with Birgit Nilsson and Herbert von Karajan with Hildegard Behrens. We can enjoy a live recording of the legendary Leonie Rysanek under Karl B枚hm in the Vienna Opera. His librettist was Oscar Wilde, it is the German translation, Kent Nagano has recorded it in the original French as well. The feeling I get is a sense of horror at something terrible that can't be undone. I must admit that endlessly fascinating certainly fits my reaction as well.
My favorite Salome is Karita Mattila at the Metropolitan Opera , she combines voice, looks and acting for the part - she was perfectly sinful in a way that matches the decadence Wilde and Strauss intended. I am surprise no one has mentioned the Caballe recording since vocally she is one of the few that could portray a young "lady" with her voice visually she is appalling |
