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Strauss, R: Salome

Strauss, R: Salome

1. Januar 1962
4.8 von 5 Sternen 4 Kundenrezensionen

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Strauss, R: Salome
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Produktinformation

  • Ursprüngliches Erscheinungsdatum : 1. Januar 1962
  • Erscheinungstermin: 3. Februar 2014
  • Anzahl der Disks: 2
  • Label: Decca
  • Copyright: ℗ 1962 Decca Music Group Limited © 2006 Decca Music Group Limited
  • Erforderliche Metadaten des Labels: Musik-Datei enthält eindeutiges Kauf-Identifikationsmerkmal. Weitere Informationen.
  • Gesamtlänge: 1:39:11
  • Genres:
  • ASIN: B001SVV4RS
  • Durchschnittliche Kundenbewertung: 4.8 von 5 Sternen 4 Kundenrezensionen
  • Amazon Bestseller-Rang: Nr. 87.923 in Alben (Siehe Top 100 in Alben)

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1961: Georg Solti, einer der großen Strauss-Dirigenten, tritt ans Pult der Wiener Philharmoniker. An den Mikrofonen stehen Birgit Nilsson (Salome), Gerhard Stolze (Herodes), Grace Hoffmann (Herodias), Eberhard Wächter (Jochanaan) und Waldemar Kmentt (Narraboth). Die Decca sorgt dafür, daß das Schauspiel akustisch eingefangen wird. Das sind die Zutaten, die Erfolg versprechen, oder etwa nicht?

Nicht nur die Namen klingen verheißungsvoll, nein, auch die Musiker dahinter lassen es krachen. Da haben wir den Dirigenten, der die Partitur meisterlich auslotet und kraftvolle Akzente setzt. Solti gelingt eine der besten Salomes auf dem Plattenmarkt. Das liegt überdies an den Wiener Philharmonikern, die in Höchstform spielen. Die Titelrolle ist der Schwedin Nilsson wie auf den Leib geschrieben. Sie bietet eine Traum-Salome, deren Fokus auf der Gesamtgestaltung und weniger auf den Finessen liegt. Wächter glänzt als "sturmfester" Prophet, der allem widersteht. Dem aufrechten, selbstbewußten Jochanaan steht ein selten lüsterner Herodes gegenüber. Stolze verleiht seiner Figur menschliche Abgründe, wie man sie derart äußerst selten findet. Auch Herodias, die von Hoffmann selbstbewußt gestaltet wird, kann dieser "großartigen" Verkommenheit nichts entgegensetzten. Die Nebenrollen vervollständigen diese ausgezeichneten Leistungen.

Klanglich nutzt die Decca alles aus, was technisch möglich ist. Es ist nur schwer in Worte zu fassen, es stellt sich jedoch das Gefühl ein, daß nicht nur das hiesige Herrschergeschlecht ein wenig überzüchtet ist, sondern auch die klangliche Darbietung. Der Grat zwischen einem Optimum und dem Zuviel ist äußerst schmal.
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Lassen Sie sich nicht von dem wirklich grausig-transigen Cover abschrecken: Das hier ist eine der besten existierenden Salome-Aufnahmen aus der Stereo-Zeit. Wie immer alles eine Sache des Geschmacks: Die triumphale Nilsson läßt textliche Feinheiten und psychische Abgründe vermissen, singt aber phänomenal und bringt auch Jugendlichkeit mit. Gerhard Stolze als Herodes ist so pervers und ekelhaft wie möglich -also ganz die Rolle, aber kein Heldentenor-Herodes, wie er bis 1960 eher üblich war. 1961 war der Höhepunkt der Sonic-Stage-Bewegung, man verlor sich im Rausch der Möglichkeiten der Stereophonie , das Orchester ist meist etwas zu laut - aber das ist es ja nun im Opernhaus auch meistens, oder nicht ? Solti feuert die Wiener Philharmoniker an, dass es eine Art hat - diese Salome ist ein Rausch, und trotzdem klar konturiert und nicht soßig wie etwa Karajans Aufnahme.

Fazit: Wer noch keine Salome besitzt, sollte diese kaufen, wem Nilsson zu schwedisch ist (und wem Tonqualität in den ersten Fällen nicht so wichtig ist), der greift besser zu Cebotaris, Welitschs oder Hildegard Behrens' Portraits der Prinzessin.
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Solti schwelgt sich erneut wie auch in der Elektraeinspielung mit Nilsson mit dem Orchester der Wiener Philharmoniker und einem glänzend aufgelegten Ensemble durch die Strauss-Partitur. Fragt man Opernfans nach einer Salome-Aufnahme, wird diese hier recht häufig genannt. Birgit Nilsson ist eine traumhafte Sängerdarstellerin, die die von Strauss gewünschte Jugendlichkeit mit einer Isoldenstimme vereint. Gerhard Stolze gibt einen herrlich galligen Herodes, vielleicht die beste Verkörperung der Partie von allen Aufnahmen und Grace Hoffmann lässt den Stolz der Herodias erstrahlen.
Sehr interessant finde ich die Besetzung des Jochanaan mit Eberhard Wächter; er dröhnt sich nicht wie manche seiner Fachkollegen mit baßbaritonaler Härte durch die Partie, sondern verleiht dem Propheten eine latente stimmliche Erotik. Da nimmt es nicht Wunder, dass Salome ihm verfällt.
Auch die kleineren Partien sind stimmig und teilweise sehr prominent besetzt. Man hat die Salome sicherlich schon analytischer gehört, aber wer im Klangrausch schwelgen möchte, ist mit dieser Aufnahme bestens bedient.
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Von HB am 18. September 2010
Format: Audio CD
Ich verstehe den Punktabzug bei "Escarmonde" nicht. Die Aufnahme wirft einen um. Es gibt keine bessere!
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta) (Kann Kundenrezensionen aus dem "Early Reviewer Rewards"-Programm beinhalten)

Amazon.com: 4.9 von 5 Sternen 16 Rezensionen
27 von 27 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The one and only desert island Salome 6. Mai 2011
Von pekinman - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I can, without question, blame this recording, along with Solti's Götterdämmerung, for causing the permanent tinnitus in both my ears. When I first came upon this recording of Salome I couldn't take it off the turntable for weeks on end. My roommates finally demanded I use earphones. Hence permanent hearing damage. I still love you, Birgit, and I can still hear you. Was this affliction worth it? Absolutely.

The old lps with the outrageously lurid and camp photo of Mme Nilsson, looking like a wall poster for the immortal B movie Attack of the 50 Foot Woman, have long been worn out It wasn't until last week that I purchased this remastered Decca classic and I really kick myself now for depriving my soul the pleasure and thrill of this recording over all these years since the snaps, crackles and pops of the lps made them useless as pleasurable listening experiences. I switched my loyalties to the more sensuous and also beautifully sung and recorded set on EMI with Hildegard Behrens and Karajan. Then the excellent Sinopoli/Studer set came along, and the very under-rated one with Michael Schönwandt with Inga Nielson. Dohnanyi's with Malfitano ain't bad either. But this Nilsson Solti leviathan of a recording is unsurpassed in every department.

I remembered this recording over all those intervening years and knew I must return to it someday if only to see if it really is as magnificent as I remembered. It is! More so.

Nilsson was an amazing Salome, on record anyway. The huge, titanium voice easily over-riding the Vienna Philharmonic at full roar under Solti's demonic direction. Alternatively she could sing on a single silvery thread of voice, like a moonbeam slipping through a chink in the window blinds, absolutely beautiful. And she acted with this splendid instrument of hers as well as anyone else I can think of. Definitely in the Maria Callas league as far as dramatic singing abilities are concerned, viscerally conveying seemingly endless nuances in the music and text.

As good as other Salomes are and no doubt will be for decades to come, I can't imagine any one of them topping this miraculous performance. This is all pretty hyperbolic language for me but I have nothing but ecstatic admiration for the accomplishments of this team. And I don't care what the critics of John Culshaw may say, they just don't make brilliantly engineered recordings like this anymore. The puritans have put the kibash on this sort of theatricality resulting from what they like to call knob-twiddling. Well, twiddle away if this is the result!

If you want only one Salome in your library this is without question the one. Just listen to Eberhard Wächter's heroic, ringing tones as John the Baptist, then move along to Salome's big scene when Jokanaan's head is presented to her on a silver platter. The stage picture springs to life and the imagination soars as Nilsson moves through this psychologically rugged territory and emerges triumphant in her madness at the end.

Solti proves once again that he was capable of fining down from a roar to a tinkling magical whisper the myriad of details in this score. In my opinion this is Strauss's greatest masterpiece, which is saying something. Salome changed the musical landscape for ever when it appeared in the early years of the 20th century.

The cast is unsurpassed. Gerhard Stolze's Herod and Grace Hoffman's Herodias are palpably vile and decadent people. Waldemar Kmentt's beautiful tenor perfectly conveys the love-sick young soldier, Narraboth.

Don't hesitate to get this release while it lasts. There is a full libretto included and the remastering is splendid.

Buy this recording even if you don't think you'd like a tale of such bloody sexual passion. It is life enhancing.
3 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Depravity Musically Depicted! 6. April 2015
Von Jorge - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
After attending two performances of Salome within a week in January 1907 Gustav Mahler stated "I am firmly convinced that it is one of the greatest masterpieces of all time" These performances were in Berlin and Emmy Destinn had sung the role. This was when almost all of the German critics of the day had poured abuse on the work, in contrast to the public, who had insisted on thirty-eight curtain calls after one of the opening performances. In another later letter he (Mahler) described it (Salome) as "emphatically a work of genius...one of the most important works of our day..." In her autobiography "La Nilsson" Birgit Nilsson describes her preparations for her first performance as Salome in the Spring of 1954 for the Stockholm Opera. In the beginning she was "dead set" against performing the role. She would "have to portray a fourteen-year-old animal disguised as human---with, however, by Strauss's own indications, the voice of an (Wagner's) Isolde". The opera had not been given in Stockholm since 1932. She states further "...In order to sound like a young, innocent maiden, I had to sing with a much slenderer tone than I was accustomed to". The ill fated Goren Gentele (years later chosen to succeed Sir Rudolph Bing as General Manager of the Metropolitan Opera, but, died in an auto crash along with two of his daughters before commencing the position) was the Stage Director. Gentele and Conductor Sixten Ehrling supervised almost two months of stage rehearsals, with every step and every gesture being set. The opening night's performance was a triumph, "the applause...seemed never to end..." and the "audience...left the hall shattered...some fainted, some felt ill, and the wife of the minister of finance suffered a miscarriage that night...The perverse...depraved Salome got the blame". As Nilsson later said "...this became one of my best parts..." Indeed when the Metropolitan Opera Gala was being planned honoring Sir Rudolph Bing upon his retirement in 1972, Bing especially requested that Birgit Nilsson perform a selection from Salome. Here we have this role preserved as one of the many examples of Nilsson's special operatic abilities.
5.0 von 5 Sternen Surprising breadth from Nilsson 14. September 2016
Von Sven Edward - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Wow! This is a tremendously difficult opera to cast, and yet it has been remarkably well served on CD. Birgit Nilsson is of course an amazing Elektra. But just as I didn't think Caballé would have the power and drama to pull off the title role, I thought Nilsson's tannic voice would not be able to portray the youthful seductress that is Salome. Well, in both cases I was wrong, and this performance ranks in my top three (the other being Hildegard Behrens for Karajan).

Solti's aggressive and unapologetic conducting plus that Decca "sonic stage" sound makes for a winning combination that needs to be heard to be believed. I must own over a dozen recordings of Salome, and yet the first time I heard this set, I heard things I had never heard before. Every iteration of each leitmotif rings out clearly in bas relief, and the famous Dance of the Seven Veils has got to be one of the most demented and arabesque on record. I would say this set needs to be in the collection of every serious fan of Strauss, Salome, Solti, or Nilsson—they are all at their best.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen mad love 2. November 2016
Von horse with no name - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Sir Georg Solti was often accused of being bombastic, but you can never be too bombastic when you're dealing with Richard Strauss's first great opera. Salome is a kitschy but irresistible blend of religion, sex, decadence, exoticism, and cruelty that Cecil B. DeMille might have envied. I wish Oscar Wilde could have attended the premiere in Dresden in 1907 (he died in 1900). Under Solti's hard-charging direction, the mighty Vienna Philharmonic gives a scintillating performance of Strauss's ambitious score, which is basically a symphonic poem with voices. The singers all do their best to keep up: there's no place for subtlety in this opera. No one will ever mistake the matronly Birgit Nilsson for a sex kitten, but she hits all the right notes as a petulant spoiled brat, a teenage virgin whose sexual awakening takes the form of a literally fatal attraction to a holy man. Eberhard Wachter is an appropriately remote Jokanaan (John the Baptist) and Waldemar Kmentt sings beautifully as Narraboth, but Gerhard Stolze steals the show as a delightfully unhinged Herodes. Stolze was no Caruso, but as a singing actor he had few if any peers. Solti lets the score's vulgarity speak for itself, without any attempt at good taste. If you want to hear Salome as it was meant to be heard, this is the recording for you.
15 von 15 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen THE PERFECT SALOME 15. Mai 2008
Von Opera Mystery - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
ABOUT THE ALBUM: Richard Strauss, Salome, Recorded At The Sofiensaal, Vienna, October, 1961, Released On LP, 1962 By Decca Record Company Limited, London, England, Released As A Remastered 2-CD Set, Decca Limited. Picture: Promotional Photo of Birgit Nilsson as Salome.

CAST: birgit Nilsson, soprano (Salome) Eberhard Wachter, baritone (Jochanaan), Gerhard Stolze, baritone, (Herod Tetrach) Grace Hoffmann, mezzo soprano (Herodias, wife of Herod) Josephine Veasey, mezzo soprano (Herodias' page) Aron Gestner (Narraboth) Kurt Equiluz (Jewish Councelor), Max Proebstl (Jewish Counselor) Nigel Douglas (page) Theodor Kirschbichler (Jewish Councelor) Zenon Kosnowski (Jewish councelor) Vienna Philharmonic Orchestra, conductor Georg Solti.

SOLTI'S SALOME

What's not to like about Birgit Nilsson's classic recording of Salome ?

Everyone who has heard this recording, originally issued as an LP in 1962 by Decca and re-released as a CD sing its praises. It is not only the strongest Salome in terms of musicality, but also in terms of dramatic impact, theatricality and masterful singing by the entire cast. This was a recording made very early in Birgit Nilsson's career, not long after her triumphant Metropolitan Opera debut as Isolde in Wagner's Tristan in 1959. Her legacy on record followed immediately and her conductor of choice was Sir Georg Solti conducting her favorite orchestra, the Vienna Philharmonic, one of the world's finest. The studio recordings made at the Sofiensaal in Vienna, Austria became legendary and the Birgit Nilsson/Georg Solti partnership produced masterpieces after masterpiece (Tristan und Isolde and the first studio Wagner Ring Des Nibelungen). Richard Strauss' score to Salome was innovative and modern, with a plethora of themes and motifs, dissonant chords, dramatic fortissimis and eerie pianissimis. Besides all the powerful punches it packs, there are melodies full of sweet lyricism and beauty, with a passionate and exotic flair. The score calls for a vast orchestra, even larger than Wagner orchestras, and a superior conductor like Georg Solti, brought out all the driven intensity and sensational, overwhelming melodrama that is inherent in Salome. Not only that, he brings about the monstrosity, brutality and insanity so evident in the music for King Herod and Salome's final scenes. Dramatic touches abound early on, such as the scene in which Herod is holding court and fears there is a powerful wind howling and threatening to ruin him. The orchestra really becomes a strong wind!! The Vienna Philharmonic knew this score. Strauss' music is Austrian/Viennese, and though the more thunderous moments are the real attractive force in this recording, the orchestra under Solti's baton produces ornate melodies that capture the strange beauty and lilting, dance-like melodies that surround certain moments, like the Dance of the Seven Veils and prior to that Salome's scenes with Jochanaan that capture her blossoming sexuality and first pangs of love. Subsequent recordings were made to top this one, and although many critics rave about Van Karajan's late 70's Salzburg Festival recording with Hildegard Behrens, few conductors could truly deliver the goods like Solti. Here, none of his slow pacing is found. It is a dramatic and fast-moving Salome from start to finish, explosive, sexual, electrifying, shocking, sensational and even the slightest bit romantic. This is the perfect Salome, and just as it should sound.

BIRGIT NILSSON

Birgit Nilsson's Salome is a little on the controversial side because she came after Ljuba Welitsch's inspired performances from decades earlier at the Met. Welitsch had a powerful voice that could produce eerie sounds for the final scene but it was a voice that was young-sounding and so appropriate to the teenager Salome character that to this date, critics hail her as the reigning interpretor of the role. Nilsson was in her prime and in great voice for this recording but physically and vocally she does not convince as the young princess Salome. For me, this is not a serious problem. The voice is good, note-for-note, with a shining and blazing high register so full of Nordic crystals and yet also capable of sounding darker and scarier (like when she insists "Bring me the head of John the Baptist"/"Gibe mich der kopf des Jochanaan). And, truth be told, Nilsson had a flexible voice, even more so at this early phase of her career, so that she was able to sound very youthful and airy. When I first heard her as she enters the courtyard where Herod has imprisoned Jochanaan in a cistern, and she has lines with Narraboth, she sounds absolutely young! I didn't recognized her. It was a sweet, seductive, princess-like voice and she would never again use this kind of voice in latter recordings, not even as Isolde Nilsson was fully in character and knew just how to bring out all the layers in Salome's nature. Notice for instance the scene after her Dance when Herod first asks her what she would like on a silver platter. "Give me on a silver platter....the head of Jon the Baptist". She says this using that same girlish, sweet voice, as if what she had just asked for was nothing big or serious, a little girl asking for a toy!! The result is devilish! But note, too, how she changes her voice and darkens it when Herod does not obey her immediately and delays in bringing her the head. She sounds as if she has gone mad (her breathing is fast and you can hear it on this recording) and she is practically screaming for blood. Nilsson knew how to sing a very masterful Salome and for me, there is no greater Salome. The thing is, that even if singers like Ljuba Welitsch, Cheryl Studer and Hildegard Behrens can manage to sound young and petulant, they totally destroy the powerful dramatic impact that the voice ought to have in the more dramatic moments when Salome has gone nuts with her desire for John's head. Nilsson was able to sing with unrivaled mastership, her voice cutting through and rising above the jungle of Strauss' music, and maintaining a dramatic integrity all the way.

GERHARD STOLZE/GRACE HOFFMANN/EBERHARD WACHTER

Gerhard Stolze's Herod takes the crown as far as singing it with dramatic insight. His voice is an acquired taste. It is not a beautiful voice. He had success singing mostly "spoken" style singing, his German voice oozing with mannerisms and theatricality. For the role of Herod, this is perfect. Stolze's Herod packs a powerful punch. He is mad, he is lustful (so lustful that it's scary) and while he is overacting, it's necessary for the drama. And truth be told, Stolze had the right kind of voice with its big ugly baritone power. Grace Hoffmann's mezzo soprano is very mannered and operatic. Herodias is not ugly sounding or especially dramatic. She didn't sound angry, bitchy or even cold, as Herodias is supposed to sound. The evil queen has probably stopped sleeping with Herod and is a bitchy ice-queen compared to the more passionate Salome, to whom she has lost. Herod really would prefer to mate with Salome, his own stepdaughter. Hoffmans' voice is beautiful but truthfully, it did not sound appropriate to her character. Eberhard Wachter's Jochanaan is beautifully sung, even if not especially brilliant like certain baritones who would take on the part later on. It is a voice that is strong, spiritual and lyrical. The scenes between him and Salome find him in a very even voice, and he is a total contrast to Stolze's crazy Herod and the equally crazy Salome. In fact, Wachter's peaceful voice is so in character. He is a saint among Satanists. And we can truly hear that. It is also to his credit that he could portray this role at the same time he had recorded the classic Giulini Don Giovanni with Joan Sutherland and Elisabeth Schwarzkopf. Wachter had a very flexible instrument and was essentially a high baritone, and his Jochanaan appears to be taking the "peaceful, calm saint" approach.

Without a doubt in my mind, there is no greater Salome. Decca has remastered this so the sound is even better and clearer. There are 2 versions of this same recording, the other being a little inferior in quality (sounding like it was taken from a library collection of CDs). This one is the one to take home. Birgit Nilsson triumphs as Salome as no other soprano ever has. Solti conducts an incredible score, finally resurrected from opium sleep to wild theatricality thanks to the fine musicianship of the Vienna Philharmonic.
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