Emily Magee, Wolfgang Koch, Michaela Schuster, Peter Bronder, Benjamin Bruns, Frankfurt Radio Symphony, Andres Orozco-Estrada - Strauss, R: Salome (2017) [Hi-Res]
![Emily Magee, Wolfgang Koch, Michaela Schuster, Peter Bronder, Benjamin Bruns, Frankfurt Radio Symphony, Andres Orozco-Estrada - Strauss, R: Salome (2017) [Hi-Res]](https://www.dibpic.com/uploads/posts/2020-09/1598942516_benjamin-bruns-frankfurt-radio-symphony-andres-orozco-estrada-strauss-r-salome-2017.jpg)
BAND/ARTIST: Emily Magee, Wolfgang Koch, Michaela Schuster, Peter Bronder, Benjamin Bruns, Frankfurt Radio Symphony, Andres Orozco-Estrada
- Title: Strauss, R: Salome
- Year Of Release: 2017
- Label: PentaTone
- Genre: Classical
- Quality: flac lossless / flac 24bits - 48.0kHz +Booklet
- Total Time: 01:52:58
- Total Size: 566 mb / 1.15 gb
- WebSite: Album Preview
Tracklist
01. Scene 1 Wie schon ist die Prinzessin Salome heute Nacht! (Narraboth, Page, First Soldier, Second Soldier)
02. Scene 1 Nach mir wird einer kommen (Jochanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page)
03. Scene 2 Ich will nicht bleiben (Salome, Page)
04. Scene 2 Siehe, der Herr ist gekommen (Jochanaan, Salome, Second Soldier, Narraboth, Slave, First Soldier)
05. Scene 2 Jauchze nicht, du Land Palastina (Jochanaan, Salome, Second Soldier, First Soldier, Page, Narraboth)
06. Scene 2 Lasst den Propheten herauskommen (Narraboth, Salome)
07. Scene 3 Wo ist er, dessen Sundenbecher jetzt voll ist (Jochanaan, Salome, Narraboth)
08. Scene 3 Er ist schrecklich (Salome, Narraboth)
09. Scene 3 Wer ist dies Weib, das mich ansieht (Jochanaan, Salome, Narraboth)
10. Scene 3 Jochanaan! Ich bin verliebt in deinen Leib (Salome, Jochanaan)
11. Scene 3 Dein Leib ist grauenvoll (Salome)
12. Scene 3 Zuruck, Tochter Sodoms! Beruhre mich nicht! (Jochanaan, Salome)
13. Scene 3 Niemals, Tochter Babylons, Tochter Sodoms (Jochanaan, Salome, Narraboth)
14. Scene 3 Wird dir nicht bange, Tochter der Herodias (Jochanaan, Salome)
15. Scene 3 Lass mich deinen Mund kussen, Jochanaan! (Salome, Jochanaan)
16. Scene 3 Du bist verflucht, Salome (Jochanaan)
17. Scene 4 Wo ist Salome (Herod, Herodias, First Soldier)
18. Scene 4 Salome, komm, trink Wein mit mir (Herod, Salome, Herodias)
19. Scene 4 Sieh, die Zeit ist gekommen (Jochanaan, Herodias, Herod)
20. Scene 4 Wahrhaftig, Herr, es ware besser (Jews, Herod, Herodias, First Nazarene)
21. Scene 4 Siehe, der Tag ist nahe (Jochanaan, Herod, First Nazarene, First Jew, Second Nazarene, Herodias)
22. Scene 4 O, uber dieses geile Weib (Jochanaan, Herodias, Herod)
23. Scene 4 Tanz fur mich, Salome (Herod, Herodias, Salome, Jochanaan)
24. Scene 4 Salomes Tanz
25. Scene 4 Ah! Herrlich! Wundervoll, wundervoll! (Herod, Salome, Herodias)
26. Scene 4 Salome, ich beschwore dich sei nicht trotzig! (Herod, Salome, Herodias)
27. Scene 4 Salome, bedenk, was du tun willst (Herod, Salome, Jews)
28. Scene 4 Gib mir den Kopf des Jochanaan! (Salome, Herod, Herodias)
29. Scene 4 Es ist kein Laut zu vernehmen (Salome)
30. Scene 4 Ah! Du wolltest mich nicht deinen Mund kussen lassen, Jochanaan! (Salome)
31. Scene 4 Sie ist ein Ungeheuer, deine Tochter (Herod, Herodias)
32. Scene 4 Ah! Ich habe deinen Mund gekusst, Jochanaan (Salome, Herod)
Desire. Brutality. Lust. Slyness. Anxiety. What a fascinatingly menacing thematic melange is seething in this Salome. Richard Strauss, the "nervous contrapuntalist," had immediately recognized the potential of Oscar Wilde's play, and had proceeded to add to it a musical meta-plane, which resulted in Salome becoming the scandalous new point of departure for opera in the 20th century.
In its vivid psychological depiction of a corrupt world, Salome is, at the same time, both child of and witness to the dawning of the 20th century - a reflection of a moribund late-bourgeois era, captivated by its own putrefaction. The opera hit the nerve of the times. Strauss poured the Salome catastrophe into a one-act opera lasting a mere 100 minutes. However, these are 100 highly condensed minutes, which demand the listener's full and uninterrupted attention without any break; first torturing him emotionally and then trickling the venom of sweet, seductive music into his ears and mind; laying his nerves bare, then making him tremble in aroused expectation.
This PENTATONE album featuring the young, up-and-coming conductor Andres Orozco-Estrada leading the hr Symphony Orchestra (= formerly Frankfurt Radio Symphony Orchestra) is a live recording of a concert given on September 10, 2016 in Frankfurt. The critics were enthusiastic: "The title role was wonderfully relaxed, all the essential components were in general harmonious, and Andres Orozco-Estrada emphasized the power of the orchestra."
Indeed, Orozco-Estrada surrounded his Salome with outstanding soloists of the German opera repertoire: Wolfgang Koch (Jochanaan), Peter Bronder (Herod), and Michaela Schuster (Herodias). The American soprano Emily Magee made her debut as Salome in Berlin in 2011. Since then, she has developed into a true Strauss specialist - and not only in this role. The Frankfurter Rundschau praised her "readily appealing, powerful and untiring soprano voice, which never gets drowned, not even in the orchestral tutti. Her face was a fascinating reflection of the slyness, the caprices, the bitchiness of a pampered princess."
01. Scene 1 Wie schon ist die Prinzessin Salome heute Nacht! (Narraboth, Page, First Soldier, Second Soldier)
02. Scene 1 Nach mir wird einer kommen (Jochanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page)
03. Scene 2 Ich will nicht bleiben (Salome, Page)
04. Scene 2 Siehe, der Herr ist gekommen (Jochanaan, Salome, Second Soldier, Narraboth, Slave, First Soldier)
05. Scene 2 Jauchze nicht, du Land Palastina (Jochanaan, Salome, Second Soldier, First Soldier, Page, Narraboth)
06. Scene 2 Lasst den Propheten herauskommen (Narraboth, Salome)
07. Scene 3 Wo ist er, dessen Sundenbecher jetzt voll ist (Jochanaan, Salome, Narraboth)
08. Scene 3 Er ist schrecklich (Salome, Narraboth)
09. Scene 3 Wer ist dies Weib, das mich ansieht (Jochanaan, Salome, Narraboth)
10. Scene 3 Jochanaan! Ich bin verliebt in deinen Leib (Salome, Jochanaan)
11. Scene 3 Dein Leib ist grauenvoll (Salome)
12. Scene 3 Zuruck, Tochter Sodoms! Beruhre mich nicht! (Jochanaan, Salome)
13. Scene 3 Niemals, Tochter Babylons, Tochter Sodoms (Jochanaan, Salome, Narraboth)
14. Scene 3 Wird dir nicht bange, Tochter der Herodias (Jochanaan, Salome)
15. Scene 3 Lass mich deinen Mund kussen, Jochanaan! (Salome, Jochanaan)
16. Scene 3 Du bist verflucht, Salome (Jochanaan)
17. Scene 4 Wo ist Salome (Herod, Herodias, First Soldier)
18. Scene 4 Salome, komm, trink Wein mit mir (Herod, Salome, Herodias)
19. Scene 4 Sieh, die Zeit ist gekommen (Jochanaan, Herodias, Herod)
20. Scene 4 Wahrhaftig, Herr, es ware besser (Jews, Herod, Herodias, First Nazarene)
21. Scene 4 Siehe, der Tag ist nahe (Jochanaan, Herod, First Nazarene, First Jew, Second Nazarene, Herodias)
22. Scene 4 O, uber dieses geile Weib (Jochanaan, Herodias, Herod)
23. Scene 4 Tanz fur mich, Salome (Herod, Herodias, Salome, Jochanaan)
24. Scene 4 Salomes Tanz
25. Scene 4 Ah! Herrlich! Wundervoll, wundervoll! (Herod, Salome, Herodias)
26. Scene 4 Salome, ich beschwore dich sei nicht trotzig! (Herod, Salome, Herodias)
27. Scene 4 Salome, bedenk, was du tun willst (Herod, Salome, Jews)
28. Scene 4 Gib mir den Kopf des Jochanaan! (Salome, Herod, Herodias)
29. Scene 4 Es ist kein Laut zu vernehmen (Salome)
30. Scene 4 Ah! Du wolltest mich nicht deinen Mund kussen lassen, Jochanaan! (Salome)
31. Scene 4 Sie ist ein Ungeheuer, deine Tochter (Herod, Herodias)
32. Scene 4 Ah! Ich habe deinen Mund gekusst, Jochanaan (Salome, Herod)
Desire. Brutality. Lust. Slyness. Anxiety. What a fascinatingly menacing thematic melange is seething in this Salome. Richard Strauss, the "nervous contrapuntalist," had immediately recognized the potential of Oscar Wilde's play, and had proceeded to add to it a musical meta-plane, which resulted in Salome becoming the scandalous new point of departure for opera in the 20th century.
In its vivid psychological depiction of a corrupt world, Salome is, at the same time, both child of and witness to the dawning of the 20th century - a reflection of a moribund late-bourgeois era, captivated by its own putrefaction. The opera hit the nerve of the times. Strauss poured the Salome catastrophe into a one-act opera lasting a mere 100 minutes. However, these are 100 highly condensed minutes, which demand the listener's full and uninterrupted attention without any break; first torturing him emotionally and then trickling the venom of sweet, seductive music into his ears and mind; laying his nerves bare, then making him tremble in aroused expectation.
This PENTATONE album featuring the young, up-and-coming conductor Andres Orozco-Estrada leading the hr Symphony Orchestra (= formerly Frankfurt Radio Symphony Orchestra) is a live recording of a concert given on September 10, 2016 in Frankfurt. The critics were enthusiastic: "The title role was wonderfully relaxed, all the essential components were in general harmonious, and Andres Orozco-Estrada emphasized the power of the orchestra."
Indeed, Orozco-Estrada surrounded his Salome with outstanding soloists of the German opera repertoire: Wolfgang Koch (Jochanaan), Peter Bronder (Herod), and Michaela Schuster (Herodias). The American soprano Emily Magee made her debut as Salome in Berlin in 2011. Since then, she has developed into a true Strauss specialist - and not only in this role. The Frankfurter Rundschau praised her "readily appealing, powerful and untiring soprano voice, which never gets drowned, not even in the orchestral tutti. Her face was a fascinating reflection of the slyness, the caprices, the bitchiness of a pampered princess."
Year 2017 | FLAC / APE | HD & Vinyl
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