This may sound strange to many but one can almost *smell the sulfur of depravity* as performed here and that the scene inarguably is. As I wrote earlier, this is wholly d-e-m-e-n-t-e-d.
@orion8835
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This role has always been a demented mix of almost every voice type Richard Strauss ever wrote for except Zerbinetta. There are hints of the very disturbed Elektra, the middle dark hooty Klymenestra and even the woman child Sophie. I applaud anyone who gets through it. Salome is a very bizarre girl. Studer in this rendering is expressive, engagingly weird, lyrical and somewhat lighter than typical post war singers in this role, highlighting the youth. Yet still takes one on the journey to madness and death well in a gentle way. The conducting is careful and creeping. The orchestra is strangely balanced and under such enormous control it breathes like nature, echoing Wagnerian tones. Incredible playing & gentle yet edgy singing.
@doGreatartistsgrowontrees
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I’ll add this: Superior to Nilsson. For Nilsson, try as she might, lacked the flexibility and colours in her voice to make a believable Salome. This one is truly d-e-m-e-n-t-e-d, as should be.
@orion8835
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@@doGreatartistsgrowontrees Studer and Nilsson have nothing in common vocally so really that is not a real review. Salome is riveting when sung by a hoch dramatic like Nilsson . Albeit rather hard and often strident however firm. Studer vocally was always approaching things from a lighter far more warbly instrument.
@doGreatartistsgrowontrees
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Of this performance, the following was published earlier this year in April ‘22 on “MusicWeb-International”: “In 1991 she [Studer] gave a concert performance of this very piece in -Dresden- [Salzburg] with Sinopoli that was just outrageous - Sinopoli pushed Studer with such power and force she ended up giving a vision of Salome that was more chilling and more decadent and terrifying than any I have heard; by the end of it her voice was all but shattered. Perhaps this is exactly the kind of cruelty that Strauss expected of his Salome - but which no soprano dares to give. It is certainly not the one that Jessye Norman dares to give here. As impressive as the voice is, her vocal cords do not sound that stretched - the performance could be considered just a little safe. Norman doesn’t fall into the Studer category in any sense, and nor give us what Strauss really intended. But what we do get is a performance of such power and virtuosity it delivers a real punch. In a sense this is not uncomplicated music; it is a straightforward narrative and Norman doesn’t make life difficult for herself. You’ll be swept away by it, but it isn’t blood-curdling, it isn’t decadent and nor is it chilling. One could imagine Studer entirely embracing the head of John the Baptist to kiss his lips; I think Norman probably recoiled at the prospect of doing so. Where Studer might almost spit her words out towards the latter half of this long monologue, Norman is more modest. Only one of these two great sopranos drips in the blood of her venom and poison.”
@doGreatartistsgrowontrees
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O-H M-Y G-O-D !!!!
@parsifalpopp
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☺
@doGreatartistsgrowontrees
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@@parsifalpopp Joyeux Noël!
@user-xk4bl4dm2o
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Удивительно!!! Я вот сегодня утром послушал ее аудиозапись Саломе, и хотел найти ее live, вот и нашел!!!
@user-xk4bl4dm2o
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Always want to find her live performance of Salome, finally!
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