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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
5.0 out of 5 stars
Closest to the ideal?,
By Brum Music "Brum Music" (Birmingham, England) - See all my reviews
This review is from: R Strauss: Salome (Audio CD)
Looking at the cast list and orchestra, you wouldn't think that this could be one of the top drawer Salome's on the market. But you'd be wrong, because in many ways this is one of the finest around - and perhaps closest to Strauss' (stated) intentions of having a believable young princess singing against an orchestra playing Mendelssohn's fairy music. Inga Nielsen's performance isn't in the Wagnerian dramatic soprano mould, but is sung with a lieder-like intensity. It all works very well and is immensely satisfying as a performance. The other roles are cast well, with no weak performances. This is really well worth listening to - a performance totally different to the Nilsson/Solti set, but equally interesting.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.8 out of 5 stars (8 customer reviews) 11 of 12 people found the following review helpful:
5.0 out of 5 stars
Superb recording by a great artist!,
By Isnogud-der-Grosswesir - Published on Amazon.com
This review is from: R Strauss: Salome (Audio CD)
Inga Nielsen, Denmark's foremost operatical export, but sadly neglected when it comes to recordings, is certainly no Welitsch. The late Ljuba Welitsch was in my opinion the ULTIMATE Salome. Her closing scene literally makes your blood freeze. But Nielsen's Salome is extremely well interpreted, even when sometimes too sweet and innocent.
But perhaps innocence is really what it is all about. The part is usually sung extremely dramatically, (try Nilsson, Behrens, Norman, Rysanek) but remember that Salome was only 15 or 16 and really just a child who perhaps couldn't distinguish fantasy from reality and right from wrong. I just love the Welitsch and Jessye Norman interpretations, but Nielsen's certainly adds an extra dimension to the part and for that she deserves 5 stars! Her latest release, "Fidelio" on the Naxos label, shows true greatness - it is just stunning and surpassed only by Christa Ludwig in terms of interpretation! 6 of 6 people found the following review helpful:
5.0 out of 5 stars
Powerful recording of a skin-crawling classic,
By Bruce Hodges - Published on Amazon.com
This review is from: R Strauss: Salome (Audio CD)
Several years ago I was lucky to catch Inga Nielsen in this same role at the Netherlands Opera, and all I can say is: she is the real deal. In addition to some stunning singing, she captures the title role beautifully, combining youthful innocence with petulance that only adds to the horror, especially in her spellbinding final scene. Her colleagues are excellent, with the veteran Anja Silja in fine form as Herodias, and Robert Hale and Reiner Goldberg also both sounding wonderful.
Michael Schonwandt, whose work I increasingly admire, does a strong job with Strauss' extraordinary demands. (For a short opera, this is a difficult one, with page after page of virtuoso tests for everyone in the orchestra.) The irresistible "Dance of the Seven Veils" has a seductive electricity, with Schonwandt building the tension bit by excruciating bit, until the thrilling climax just brings the house down. The Danish National Radio Symphony Orchestra plays each taxing page with feverish commitment while maintaining that gleaming Straussian quality, and the whole project is recorded in typically vivid Chandos sound. Yes, there are some famous Salome's out there -- let's cite Birgit Nilsson and Ljuba Welitsch, just to name two great ones, who are also supported by great conductors Solti and Reiner, respectively -- but I'll be very surprised if Inga Nielsen doesn't eventually take her place in that pantheon. 4 of 4 people found the following review helpful:
5.0 out of 5 stars
Eerily Fascinating!,
By The Cultural Observer - Published on Amazon.com
This review is from: R Strauss: Salome (Audio CD)
Salome is one of my favorite operas. While it may not have a noble heroine like Brünnhilde, Norma, or Isolde, it has some of the most exotic music and the most well-characterized roles in the entire operatic repertoire. Unfortunately, many of the recordings of Salome in the discography showcase sopranos who may have the ability to handle all the notes, but lack the personality to give the dark, lusty, semi-erotic, and innocent side of this very complex character. Birgit Nilsson may have all the notes of Salome with the thrust and power making for very thrilling above the staff music, but she doesn't have the kitten-ish side which made great Salomes like Ljuba Welitsch famous.
This recording fortunately showcases the talents of Inga Nielsen, a Danish dramatic soprano sadly underrecorded despite her great talents. I have never heard a more exacting performance of Salome with all the nuances of the erotic, sexually charged princess. While she may not have the insights of Catherine Malfitano in the role, she has the requisite tone and the power needed plus a good sense of dynamic marking to deliver in this very difficult role. Her final scene is simply chilling due to the paradox of her innocent voice and her sexual obsession with Jochanaan. A Salome who in every way matches and in some ways exceeds Ljuba Welitsch, I believe Inga Nielsen should be, along with Catherine Malfitano, recommended as reference Salomes. The supporting cast is magnificent. Robert Hale, Inga Nielsen's real-life husband, sings a very authoritative, epic Jochanaan. He has the vocal size and the power needed to make Jochanaan sound like a noble prophet, and I really like how he controls his large voice to perfect effect in the recording. The rest of the cast is excellent too. Anja Silja sings her signature Herodias, an interpretation with all the thought-out nuances over the years that makes this artist such a miracle. Partnering her is the Herod of Reiner Goldberg, once a wonderful heldentenor voice who gives us a no-nonesense heroic interpretation of Salome's father. Schønwandt conducts this recording with all the Straussian understanding needed for the score. I would still stick to the Dohnanyi recording for Malfitano, Terfel and Dohnanyi himself, but this is a jewel, and given the magnificent sound, perhaps is an excellent second recording. |
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