Danish National Radio Symphony Orchestra & Michael Schønwandt - R. Strauss: Salome (1999)
BAND/ARTIST: Inga Nielsen, Robert Hale, Reiner Goldberg, Anja Silja, Danish National Radio Symphony Orchestra, Michael Schønwandt
- Title: R. Strauss: Salome
- Year Of Release: 1999
- Label: Chandos
- Genre: Classical
- Quality: FLAC (tracks + booklet)
- Total Time: 1:39:01
- Total Size: 486 MB
- WebSite: Album Preview
Tracklist:
Disc 1
1. Salome, Op. 54, TrV 215, Scene 1: Wie schön ist die Prinzessin Salome heute nacht! (Narraboth, Page, First Solder, Second Soldier) (02:48)
2. Salome, Op. 54, TrV 215, Scene 1: Nach mir wird Einer kommen (Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Pag (02:21)
3. Salome, Op. 54, TrV 215, Scene 2: Ich will niche bleiben (Salome, Page) (01:40)
4. Salome, Op. 54, TrV 215, Scene 2: Siehe, der Herr ist gekommen (Jokanaan, Salome, Second Soldier, Narraboth, Slave, First Soldier) (01:32)
5. Salome, Op. 54, TrV 215, Scene 2: Jauchze nicht, de Land Palästina (Jokanaan, Salome, Second Soldier, First Soldier, Page) (02:18)
6. Salome, Op. 54, TrV 215, Scene 2: Du wirst das für mich nun (Salome, Narraboth) (03:12)
7. Salome, Op. 54, TrV 215, Scene 3: Wo ist er, dessen Sündenbecher jetzt voll ist? (Jokanaan, Salome, Narraboth) (09:42)
8. Salome, Op. 54, TrV 215, Scene 3: Jochanaan! Ich bin verliebt in deinen Leib (Salome, Jokanaan, Narraboth) (08:22)
9. Salome, Op. 54, TrV 215, Scene 3: Wird dir nicht bange, Tochter der Herodias? (Jokanaan, Salome) (08:00)
10. Salome, Op. 54, TrV 215, Scene 4: Wo ist Salome? (Herod, Herodias, First Soldier) (02:31)
11. Salome, Op. 54, TrV 215, Scene 4: Es ist kalt hier (Herod, Herodias) (01:30)
12. Salome, Op. 54, TrV 215, Scene 4: Salome, komm, trink Wein mit mir (Herod, Salome, Herodias) (02:34)
13. Salome, Op. 54, TrV 215, Scene 4: Sich, die Zeit ist gekommen (Jokanaan, Herodias, Herod) (00:45)
14. Salome, Op. 54, TrV 215, Scene 4: Wahrhaftig, Herr, es wäre besser (Herod, Herodias, First Nazarene, Jews) (02:41)
15. Salome, Op. 54, TrV 215, Scene 4: Siehe, der Tag ist nahe (Jokanaan, Herod, Herodias, First Nazarene, First Jew, Second Nazarene) (02:51)
16. Salome, Op. 54, TrV 215, Scene 4: Eine Menge Menschen wird sich gegen sie sammeln (Jokanaan, Herodias, Herod) (02:05)
17. Salome, Op. 54, TrV 215, Scene 4: Tanz fur mich, Salome (Herod, Herodias, Salome, Jokanaan) (04:02)
Disc 2
1. Salome, Op. 54, TrV 215, Scene 4: Salome's Dance (09:35)
2. Salome, Op. 54, TrV 215, Scene 4: Ah! Herrlich! Wundervoll, wundervoll! (Herod, Salome, Herodias) (03:39)
3. Salome, Op. 54, TrV 215, Scene 4: Still, sprich nicht zu mir! (Herod, Salome, Herodias) (02:48)
4. Salome, Op. 54, TrV 215, Scene 4: Salome, bedenk, was du tun willst (Herod, Salome, Jews) (02:45)
5. Salome, Op. 54, TrV 215, Scene 4: Man soll ihr geben, was sie verlangt! (Herod, Herodias) (01:49)
6. Salome, Op. 54, TrV 215, Scene 4: Es ist kein Laut zu vernehmen (Salome) (02:15)
7. Salome, Op. 54, TrV 215, Scene 4: Ah! Du wolltest mich nicht deinen Mund küssen lassen, Jochanaan! (Salome) (11:27)
8. Salome, Op. 54, TrV 215, Scene 4: Sie ist ein Ungeheuer, deine Tochter (Herod, Herodias) (01:05)
9. Salome, Op. 54, TrV 215, Scene 4: Ah! Ich habe deinen Mund geküßt, Jochanaan (Salome) (04:31)
Disc 1
1. Salome, Op. 54, TrV 215, Scene 1: Wie schön ist die Prinzessin Salome heute nacht! (Narraboth, Page, First Solder, Second Soldier) (02:48)
2. Salome, Op. 54, TrV 215, Scene 1: Nach mir wird Einer kommen (Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Pag (02:21)
3. Salome, Op. 54, TrV 215, Scene 2: Ich will niche bleiben (Salome, Page) (01:40)
4. Salome, Op. 54, TrV 215, Scene 2: Siehe, der Herr ist gekommen (Jokanaan, Salome, Second Soldier, Narraboth, Slave, First Soldier) (01:32)
5. Salome, Op. 54, TrV 215, Scene 2: Jauchze nicht, de Land Palästina (Jokanaan, Salome, Second Soldier, First Soldier, Page) (02:18)
6. Salome, Op. 54, TrV 215, Scene 2: Du wirst das für mich nun (Salome, Narraboth) (03:12)
7. Salome, Op. 54, TrV 215, Scene 3: Wo ist er, dessen Sündenbecher jetzt voll ist? (Jokanaan, Salome, Narraboth) (09:42)
8. Salome, Op. 54, TrV 215, Scene 3: Jochanaan! Ich bin verliebt in deinen Leib (Salome, Jokanaan, Narraboth) (08:22)
9. Salome, Op. 54, TrV 215, Scene 3: Wird dir nicht bange, Tochter der Herodias? (Jokanaan, Salome) (08:00)
10. Salome, Op. 54, TrV 215, Scene 4: Wo ist Salome? (Herod, Herodias, First Soldier) (02:31)
11. Salome, Op. 54, TrV 215, Scene 4: Es ist kalt hier (Herod, Herodias) (01:30)
12. Salome, Op. 54, TrV 215, Scene 4: Salome, komm, trink Wein mit mir (Herod, Salome, Herodias) (02:34)
13. Salome, Op. 54, TrV 215, Scene 4: Sich, die Zeit ist gekommen (Jokanaan, Herodias, Herod) (00:45)
14. Salome, Op. 54, TrV 215, Scene 4: Wahrhaftig, Herr, es wäre besser (Herod, Herodias, First Nazarene, Jews) (02:41)
15. Salome, Op. 54, TrV 215, Scene 4: Siehe, der Tag ist nahe (Jokanaan, Herod, Herodias, First Nazarene, First Jew, Second Nazarene) (02:51)
16. Salome, Op. 54, TrV 215, Scene 4: Eine Menge Menschen wird sich gegen sie sammeln (Jokanaan, Herodias, Herod) (02:05)
17. Salome, Op. 54, TrV 215, Scene 4: Tanz fur mich, Salome (Herod, Herodias, Salome, Jokanaan) (04:02)
Disc 2
1. Salome, Op. 54, TrV 215, Scene 4: Salome's Dance (09:35)
2. Salome, Op. 54, TrV 215, Scene 4: Ah! Herrlich! Wundervoll, wundervoll! (Herod, Salome, Herodias) (03:39)
3. Salome, Op. 54, TrV 215, Scene 4: Still, sprich nicht zu mir! (Herod, Salome, Herodias) (02:48)
4. Salome, Op. 54, TrV 215, Scene 4: Salome, bedenk, was du tun willst (Herod, Salome, Jews) (02:45)
5. Salome, Op. 54, TrV 215, Scene 4: Man soll ihr geben, was sie verlangt! (Herod, Herodias) (01:49)
6. Salome, Op. 54, TrV 215, Scene 4: Es ist kein Laut zu vernehmen (Salome) (02:15)
7. Salome, Op. 54, TrV 215, Scene 4: Ah! Du wolltest mich nicht deinen Mund küssen lassen, Jochanaan! (Salome) (11:27)
8. Salome, Op. 54, TrV 215, Scene 4: Sie ist ein Ungeheuer, deine Tochter (Herod, Herodias) (01:05)
9. Salome, Op. 54, TrV 215, Scene 4: Ah! Ich habe deinen Mund geküßt, Jochanaan (Salome) (04:31)
Inga Nielsen is a Salome of quite exceptional talent, even inspiration. Better than any of her predecessors she creates a princess who sounds credibly teenaged with surely just the pearl-like yet needle-sharp tone Strauss intended. Nobody has so convincingly conveyed the impression of a spoilt, petulant innocent with the will and determination to get her way – and then exploited her manipulative character to frightening effect as, sexually awakened, Salome becomes obsessed with the body of Jokanaan. In a performance that's vocally stunning from Salome's first entrance, Nielsen fashions her reading with supreme intelligence in her response to words and notes. Throughout she sings keenly, even maliciously off the text. While still having nothing but praise for Studer's beautifully sung portrayal on the Sinopoli set – her tone is more refulgent, less narrow than Nielsen's but she isn't so much inside the role – or for Nilsson's vocally overwhelming portrayal for Solti, Nielsen simply seems a Salome by nature, made for the part.
Happily Nielsen's riveting interpretation receives suitable support. Schønwandt yields to none of his illustrious predecessors in impressing on us the still-extraordinary originality, fascination and tense horror of Strauss's score. From start to finish, including an electrifying account of the Dance, his is a fierily direct, highly charged yet never vulgar reading. Hale, who has part- nered Nielsen in this work at the Brussels Opera, is a noble-sounding, resolute Jokanaan of long experience. Although he doesn't attempt the larger-than-life, tremendous performance of Terfel for Sinopoli, and his tone isn't as steady, his reading is surely more of a piece with the opera as a whole. Goldberg is just right as the degraded, superstitious, lecherous Herod, vocally astute and characterful. Silja is a well-routined, if sometimes over-the-top Herodias.
Chandos provides a recording of extraordinary range and breadth, yet one that makes sure that the singers take stage front. Anyone who already has the highly regarded Sinopoli version will probably not feel the need to invest in this set, but newcomers are urged to hear it. Even though other elements are well taken care of on earlier versions, Nielsen is really unmissable. — Gramophone Classical Music Guide, 2010
Happily Nielsen's riveting interpretation receives suitable support. Schønwandt yields to none of his illustrious predecessors in impressing on us the still-extraordinary originality, fascination and tense horror of Strauss's score. From start to finish, including an electrifying account of the Dance, his is a fierily direct, highly charged yet never vulgar reading. Hale, who has part- nered Nielsen in this work at the Brussels Opera, is a noble-sounding, resolute Jokanaan of long experience. Although he doesn't attempt the larger-than-life, tremendous performance of Terfel for Sinopoli, and his tone isn't as steady, his reading is surely more of a piece with the opera as a whole. Goldberg is just right as the degraded, superstitious, lecherous Herod, vocally astute and characterful. Silja is a well-routined, if sometimes over-the-top Herodias.
Chandos provides a recording of extraordinary range and breadth, yet one that makes sure that the singers take stage front. Anyone who already has the highly regarded Sinopoli version will probably not feel the need to invest in this set, but newcomers are urged to hear it. Even though other elements are well taken care of on earlier versions, Nielsen is really unmissable. — Gramophone Classical Music Guide, 2010
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