Richard Strauss: Salome [Remastered]

Disc 1
1	Salome, opera, Op. 54 (Tr
2	Salome, opera, Op. 54 (Tr
3	Salome, opera, Op. 54 (Tr
4	Salome, opera, Op. 54 (Tr
5	Salome, opera, Op. 54 (Tr
6	Salome, opera, Op. 54 (Tr
7	Salome, opera, Op. 54 (Tr
8	Salome, opera, Op. 54 (Tr
9	Salome, opera, Op. 54 (Tr
10	Salome, opera, Op. 54 (Tr
11	Salome, opera, Op. 54 (Tr
12	Salome, opera, Op. 54 (Tr
13	Salome, opera, Op. 54 (Tr
14	Salome, opera, Op. 54 (Tr
15	Salome, opera, Op. 54 (Tr
Disc 2
1	Salome, opera, Op. 54 (Tr
2	Salome, opera, Op. 54 (Tr
3	Salome, opera, Op. 54 (Tr
4	Salome, opera, Op. 54 (Tr
5	Salome, opera, Op. 54 (Tr
6	Salome, opera, Op. 54 (Tr
7	Salome, opera, Op. 54 (Tr
8	Salome, opera, Op. 54 (Tr
9	Salome, opera, Op. 54 (Tr
10	Salome, opera, Op. 54 (Tr
11	Salome, opera, Op. 54 (Tr
Richard Strauss: Salome [Remastered]
1.	Salome, opera, Op. 54 (TrV 215) 1:39:10
	Composed by Richard Strauss
	Performed by Vienna Philharmonic Orchestra, Nigel Douglas, Kurt Equiluz, Grace Hoffmann, Waldemar Kmentt, Tom Krause, Paul Kuen, Liselotte Maikl, Birgit Nilsson, Max Proebstl, Stefan Schwer, Gerhard Stolze, Josephine Veasey, Eberhard Wächter, Aron Gestner, Heinz Holecek, Theodor Kirschbichler and Zenon Kosnowski
	Conducted by Georg Solti

Barnes & Noble

When Birgit Nilsson, possibly the greatest dramatic soprano of the 20th century, passed away in late 2005 at the age of 87, the obituaries rightly gave pride of place to her interpretations of the great Wagner heroines. Yet Richard Strauss' Salome and Elektra were signature roles in her career as well, and this spectacular 1961 recording of the former opera has never been truly surpassed for excitement, intensity, and all-around acoustic spectacle. Producer John Culshaw deserves as much of the credit for this as Nilsson, the rest of the fine cast, or conductor Georg Solti. This team recorded Salome when their historic version of Wagner's Ring Cycle (with Nilsson as Brünnhilde) was already in progress, and Culshaw's skill at translating opera to the recording studio -- bringing out the dramatic and sonic potential in ways that even a live performance couldn't -- was unique. Salome offered Culshaw plenty of opportunities for wizardry: the prophetic voice of Jokanaan (sung with riveting authority by Eberhard Wächter) emerging from the deep cistern, for example, and the eerie resonance given to Salome's own voice in her final scene. Solti drives the Vienna Philharmonic hard in this recording, but pungent orchestral details are constantly coming into relief (probably also thanks to Culshaw's "Sonicstage" technique). Among the supporting cast, Gerhard Stolze is among the most demented Herods on record, but of course, the performance belongs to Nilsson. She was sometimes criticized for not sounding (or looking) young enough to portray the teenage Salome -- a feat that scarcely anyone can accomplish -- but the power, the believability, and the sometimes surprising warmth of her singing prove the rightness of the casting. This Salome has never been out of print, but finally reissued in a mid-price series of legendary recordings from Decca, it's a more alluring prospect than ever before. Scott Paulin

All Music Guide

Richard Strauss' early operatic success with "Salome" helped secure the composer a distinguished place in history. Although the lustful "Salome" had been portrayed before, it wasn't until Strauss expounded upon Oscar Wilde's play that this story became so massively successful. The popularity that the opera enjoyed has only seemed to grow, and a number of recordings now flood the market of this hauntingly seductive work.

But while there are many choices for a recording to choose from, this is the recording: if there ever were a dream team for an opera, this is it. The fact that this recording has long been the benchmark for judging other performances of "Salome" will need no explanation to fans of the fiery Birgit Nilsson: her passing in December 2005 was of great loss to both the classical music and operatic world. The blazing Nilsson, combined with the impulsive, nervous energy of powerhouse conductor Georg Solti and the unmatched Vienna Philharmonic produces what is (arguably) the finest account of this masterwork ever.

This recording, though, needs some clarification. Unfortunately, in what was perhaps a rush to bring this tribute to Nilsson in the wake of her passing, Decca neglected to indicate the year the performance was taken from. This recording, a remastered edition of a 1961 studio recording (which was also released in 1990 on Decca), was recorded with the so-called "sonicstage" technology, a recording process that supposedly gave performances an enhanced, more vibrant sensitivity. Indeed, Strauss' blazing, eerie score glows with iridescence here, and the sound is natural, crisp, and clean -- but also deep. Without distortion or boom, the Vienna Philharmonic is captured in three dimensions along with the rest of the cast, which includes Gerhard Stolze, Grace Hoffman, Eberhard Wächter, and Waldemar Kmentt. C. Ryan Hill

Gramophone

There is a real sense here of a theatrical performance, as directed by John Culshaw, with an imaginative use of movement that is all the more obvious in its CD recension.... This is an overwhelming account of Strauss's sensual piece... Nilsson's account of the title role remains another towering monument to her tireless singing. Alan Blyth