▄▀ ▀ ▀ ▀▄
██ ▄ ▄ ██
▀▓█▄ ▄▓▄ ▄▓▄ ▄█▓▀
▀ ▀▀▄▄▄ █▀▄▄▄ ▀ ▀ ▄▄▄▀█ ▄▄▄▀▀ ▀
▀▀▓█▄ █ ▄▄▀▀░██▄▄ ▄▄██░▀▀▄▄ █ ▄█▓▀▀
▀ ▄ █▓░ █ ███▄ ▀▀███▄███▀▀ ▄███ █ ███ ▄ ▀
▄ █▄ ░█▓░ █ ▀████ ▀█▀ █████ █ ██▓░ ▄█ ▄
▀▓▀ ▄█▀ ▄███ █ █████ █████ █ █▓▓▄ ▀█▄ ▀▓▀
▄▄▓█▄███▀▀ █ ▓████▄ ▄ ▄█████ █ ▀▀█▓█▄█▓▄▄
▄▄█▀▀▀▀ ▄▄▄▄▄ ▄█ ▒██████▄ ███ ▄██████▀ █▄ ▄▄▄▄▄ ▀▀▀▀█▄▄
▄▀ ▄▄███████████▄ ▀▓ ░████░▀██▄███▄██▀░█████ ▓▀ ▄▓▓█████████▄▄ ▀▄
█ ███████████▓▀▓███▄▄▒ ▄████ ▀█████▀ ████▓ ▒▄▄▓▓██▀████████████ █
█ ██████▓▀▀█ ▀███▓░ █████ ▄ ▀█▀ ▄ ████▒ ░▓███▀ █ ▀▀███████ █
█ ▓████▓ ▀█ ▐▓▀ █████▄▀ ██▄ ▄██ ▀▄█████ ▀█▌ ▓ ▀ █████▓ █
█ ░████▌ ▓ ▀ ░ ██████ ▀█████▀ █████▄ ░ ▀ ▀▀ ▒ ▐████░ █
▀ ████▌ ▒ █ █████ ▀ ▀█▀ ▀ █████ █ ░ ▄ ▐████ ▀
▄▀▄████ ░ █ ▀▓▓██ ██▓▓▀ █ ▀▓▀ ████▄▀▄
▀ █████ ▀▀██░▄▄▀▀▄▄ ▄▓▄ ▄▄▀▀▄▄░██▀▀ ▄▄▄▄░ █████ ▀
▄▀ ████ ░ ▀▄ ▄ ▀▀▀▄▄ ▀ ▄▄▀▀▀ ▄ ▄█▀▀▀██▄ ████ ▀▄
█ ░████ ▄ ▓▄ ▀▓▀ ▀█▓▄ ▄▓█▀ ▀▓▀ ▄▓█ ▄ ██ ████░ █
█ ▒████▄ ▀▓▀ ▌██▄ ▄ ██ ██ ▄ ▄███ ▀▄▀ ▄████▒ █
█ ▓██████▄ ▄█████▄ ▀ ▄▀ ▀▄ ▀ ▄█████▄ ▀ ▄██████▓ █
█ █▓███████▄ ▄▄█████▀▀▀▀▀ .;.C M G.;. ▀▀▀▀▀▓▓███▄▄ ▄█████████ █
▀ ▀▀███▄▄▀▀▓▓█████▄████▀▀ ▀▀▓███▄███████▀▀▄▄███▀▀ ▀
▄ ▀▀██▄▄▀▀▓▓████▀▄ ▀▓▄ ▄▓▀ ▄▀▓█████▀▀▄▄██▀▀ ▄
▀▓▀ ▓ ▀██▄ ▀▀▀▀▀ ▓█▄.Council Music Group.▄█▓ ▀▀▀▀▀ ▄██▀ ▓ ▀▓▀
░ ▀▓█ ▄▓▄ ▄▄██▀ ▀██▄▄ ▄▓▄ █▓▀ ░
▀ ▄▀ ▀ ▄▄▄██▀▀ ▀▀██▄▄▄ ▀ ▀▄ ▀
▄▄███▀▀▀ ▀▀▀███▄▄
▀ ▄ ▀ ▄██▀▀ ▀▀██▄ ▀ ▄ ▀
█▀ richard strauss (sir georg solti/vienna philharmo ▀█
▀▓▄ ▄▀ ▄ ▄ ▀▄ ▄▓▀
▀▀▄██░▀▀ ▀▀░██▄▀▀
▄▄▄▄▄▄▄█████▓░ ▄▄██▓▀▀ ;.. General infos ..; ▀▀▓██▄▄ ░▓█████▄▄▄▄▄▄▄
▀▀████▄▄░ ▄█▀█▀▀ ▀▀█▀█▄ ▄▄████▀▀
▀██████▄█ █ █ █▄██████▀
▀▀███ ▓ Type ........: album ▓ ███▀▀
▀ ██ ░ Music Style .: opera ░ ██ ▀
▄ ▐█ Release.Date : 2009-08-22 █▌ ▄
▀▓▀ ▐█ Release.Size : 135,5 MB █▌ ▀▓▀
█ Playtime ....: 99:29 min █
▄▄██ ██▄▄
▀ ▄███▀ █ Grabber .....: eac █ ▀███▄ ▀
▄██▓▀▄▓▄█ Encoder .....: lame █▄▓▄▀▓██▄
█████ ▀ █ Label..:.....: Decca █ ▀ █████
███▓░ █ Source ......: cdda █ ░▓███
██▓░ █ Tracks ......: cd1: 15 cd2: 11 █ ░▓██
██▓░ █ Bitrate......: vbr. 189kbps █ ░▓██
███▓░ █ Frequency....: 44,1kHz █ ░▓███
▄ ▀▀██░▄▄ █ Mode ........: joint-stereo █ ▄▄░██▀▀ ▄
▄ ▀▀▀▄▄ ▄▄▀▀▀ ▄
▀▓▀ ▀██▄ ▄▓█▀ ▀▓▀
▄ ▀▓█ ██ ▄
▀ ▄▀ ▀▄ ▀
▄ ▄
▀ ..;.TracKList.;.. ▀
cd1
01 ::: scene 1 - wie schoen ist die ::: 02:51
prinzessin salome heute nacht!
02 ::: scene 1 - nach mir wird einer kommen ::: 02:36
03 ::: scene 2 - ich will nicht bleiben ::: 01:47
04 ::: scene 2 - siehe, der herr ist ::: 01:34
gekommen
05 ::: scene 2 - jauchze nicht, du land ::: 02:21
palaestina
06 ::: scene 2 - du wirst das fuer mich tun ::: 03:15
07 ::: scene 3 - wo ist er, dessen ::: 09:43
suendenbecher jetzt voll ist?
08 ::: scene 3 - jochanaan! ich bin ::: 08:33
verliebt in deinen leib
09 ::: scene 3 - wird dir nicht bange, ::: 07:44
tochter der herodias?
10 ::: scene 4 - wo ist salome? ::: 02:28
11 ::: scene 4 - es ist kalt hier ::: 01:28
12 ::: scene 4 - salome, komm, trink wein ::: 02:35
mit mir
13 ::: scene 4 - siehe, die zeit ist ::: 00:49
gekommen
14 ::: scene 4 - wahrhaftig, herr, es ::: 02:51
waere besser, ihn in unsre haende zu
15 ::: scene 4 - siehe, der tah ist nahe ::: 03:18
cd2
01 ::: scene 4 - eine menge menschen wird ::: 02:05
sich gegen sie sammeln
02 ::: scene 4 - tanz fuer mich, salome ::: 04:05
03 ::: scene 4 - salome's dance of the ::: 08:50
seven veils
04 ::: scene 4 - ah! herrlich! wundervoll, ::: 03:36
wundervoll!
05 ::: scene 4 - still, sprich nicht zu ::: 02:55
mir!
06 ::: scene 4 - salome, bedenk, was du ::: 02:46
tun willst
07 ::: scene 4 - man soll ihr geben, was ::: 01:52
sie verlangt!
08 ::: scene 4 - es ist kein laut zu ::: 02:06
vernehmen
09 ::: scene 4 - ah! du wolltest mich ::: 11:44
nicht deinen mund
10 ::: scene 4 - sie ist ein ungeheuer, ::: 00:59
deine tochter
11 ::: scene 4 - ah! ich habe deinen mund ::: 04:38
gekuesst, jochanaan
Total ::: 99:29
░ ..;Release Notes;.. ░
░ The sound is very vivid and immediate in ░
░ this latest remastering of the classic ░
░ 1961 recording, and you hear details in ░
░ the exceedingly complex orchestration ░
░ that you would not hear in the opera ░
░ house (much better in this respect than ░
░ the previous, original CD issue). Solti ░
░ sounds in total command of both the ░
░ sensual and visceral aspects of the work, ░
░ aided by the full bodied and imposing ░
░ playing of the Vienna Phil. Furthermore, ░
░ the cast overall is very strong, even ░
░ though Nilsson's Salome does not reach ░
░ the heights of dramatic fervor that ░
░ Leonie Rysenek achieved in her live ░
░ recording with Bohm. Gerhard Stolze, ░
░ however, really makes a meal of Herod, ░
░ vividly bringing out both the character's ░
░ sliminess and hysteria (only Vickers in ░
░ his live recording with Kempe and Rysenek ░
░ equals him, but, by contrast, conveys a ░
░ more kingly imperiousness with his heroic ░
░ style and sound). ░
░ Anyone who likes Salome should get this ░
░ one. ░
░ ░
░ Salome is a treacherous opera to cast, ░
░ since the ideal soprano needs a voice of ░
░ Wagnerian power coupled with an ability ░
░ to sound sensuous and young. By common ░
░ agreement the ideal portrayal came from ░
░ Ljuba Welitsch, but her prime lasted ░
░ little more than a decade in the late ░
░ Forties and early Fifties; sadly, she was ░
░ never captured in the studio. Off and on ░
░ I've owned all the acclaimed recordings ░
░ of this garish but irresistible opera, so ░
░ I thought it would be interesting to ░
░ comment on them. ░
░ ░
░ Solti (1962) -- A blockbuster from the ░
░ day it appeared, the combination here of ░
░ Solti's hyper-kinetic conducting, ░
░ Nilsson's gleaming vocal command, and the ░
░ Vienna Phil. in peak form has kept this ░
░ set at the top for over four decades. ░
░ Decca's refurbished sound is less glaring ░
░ than the original ADRM release. Some may ░
░ complain that Solti misses the ░
░ sensuousness of the score in favor of its ░
░ lurid sensationalism, and critics have ░
░ found Nilsoon nothing like a kittensih ░
░ gril. Both accusations are true, yet the ░
░ unique impact of this version speaks for ░
░ itself. As Jokanaan, Eberhard Waechter is ░
░ in much better voice than in his remake ░
░ ten years later. ░
░ ░
░ Leinsdorf (1969) -- RCA was bucking the ░
░ tide to put the bel canto specialist ░
░ Monserrat Caballe up against Nilsson, but ░
░ she came out very well, offering a ░
░ sinuous, creamy Salome whose spoiled ░
░ petulance belies the psychopathology that ░
░ is to come. Sherrill Milnes isn't very ░
░ Germanic, but he's in prime voice for ░
░ Jokanaan. RCA's recorded sound isn't ░
░ demonstration quality like the Solti but ░
░ is otherwise very good. Leinsdorf ░
░ conducts proficienlty, better than his ░
░ usual by far. It may sound as if all the ░
░ virtues of this set don't add up, but ░
░ that's not true: this is a ░
░ non-sensationalist reading full of color ░
░ and variety, a sensual pleasure where ░
░ Solti is like sticking your finger into ░
░ an electrical socket. Richard Lewis ░
░ stands out as a Herod who actually sings ░
░ every note and never lapses into Grand ░
░ Guignol. ░
░ ░
░ Bohm (1972) -- Austrian Radio released ░
░ this stereo broadcast of a stunning live ░
░ performance from the Vienna State Opera. ░
░ The chief attraction is Leonie Rysanek, ░
░ who comes close to Welitsch in her ░
░ ability to combine power, nuance, ░
░ femininity, and psychological intensity. ░
░ Yet despite an incomparable lead, ░
░ Waechter sounds dry and worn out as ░
░ Jokanaan, reduced to shouting much of the ░
░ role (no seductiveness in the voice at ░
░ all). The recorded sound is dull, turning ░
░ the great Vienna pit orchestra to a blur. ░
░ There is casting in depth, to be sure, ░
░ among the minor players. As Herod, Hans ░
░ Hopf blares away, but he has the voice to ░
░ make it sound convincing. Despite raves ░
░ for Bohm's conducting, I couldn't hear ░
░ much of it due to the muffled sound, and ░
░ in other respects I didn't detect ░
░ eath-shattering inspiration from him. I ░
░ realize I am among the minority here. ░
░ ░
░ Karajan (1977) -- As with their ░
░ respective Ring cycles, Karajan comes at ░
░ Salome with orchestral refinement in ░
░ mind, Solti with raw power. It would be ░
░ hard to imagine a more sensuous reading ░
░ of the score than is offered here, once ░
░ mroe by the Vienna Phil., and yet the ░
░ scary, horrifying aspects of the opera ░
░ seem to be lost. Hildegard Behrens, then ░
░ a fresh Karajan discovery, does a ░
░ wonderufl job encompassing the title ░
░ role. She's not as powerful as Nilsson or ░
░ as gripping dramatically as Rysanek, but ░
░ this is a very credible job, and Behrens ░
░ is in perfect voice. Jose Van Dam, a ░
░ Karajan favorite, doesn't quite convince ░
░ as Jokanaan -- he's neither saintly nor ░
░ an intimidating fanatic -- but he is ░
░ never less than an exemplary singer. ░
░ Overall, the totality isn't as great as ░
░ the sum of the parts. Salome isn't a ░
░ Greek statue to be admired for her lovely ░
░ smooth proporitons. ░
░ ░
░ Sinopoli (1990) -- This is essentially a ░
░ cast recording from a series of ░
░ performances at the Deutsch Oper in ░
░ Berlin, and as such it isn't always ░
░ strong in the minor parts. However, the ░
░ two leads are utterly spectacular. Cheryl ░
░ Studer, at the very peak of her career, ░
░ won rapturous praise for her ability to ░
░ combine power and youth, with many ░
░ critics comparing her to Welitsch. It may ░
░ be that she needed the microphone to ride ░
░ over Strauss's immense orchestra at ░
░ times, but that's not a flaw in the ░
░ studio. Bryn Terfel is the Jokanaan of ░
░ our time, incredibly charismatic here in ░
░ youth but just as good for Dohnanyi later ░
░ on (in both the DVD and CD versions -- ░
░ Terfel holds the stage visually with his ░
░ natural command). Sinopoli is at his best ░
░ in Strauss, and the only real drawback is ░
░ DG's somewhat diffuse sound, which ░
░ doesn't balance voices and orchestra as ░
░ well as it should. ░
░ ░
░ Having listed the pros and cons, is there ░
░ one reading that surpasses the others? ░
░ For many, that would be the Solti, which ░
░ is an indispensable choice no matter ░
░ which other version you own. I would rate ░
░ the Sinopoli as totally satisfying, also, ░
░ and I wouldn't want to miss Caballe and ░
░ Rysanek in the title role. But I can ░
░ understand why the live Bohm version from ░
░ Vienna is so widely praised. ░
░ ░
░ ░
▒ ▀ ▀ ▒
▓ ▄▀ ▀▄ ▓
▄ ■ ■ ▄
▀ ▄ ▀
▄▀ █ ▄ █ ▀▄
██ ▀ █ ▄███▄ █ ▀ ██
██▄ █ ▀▓██▀ █ ▄██
▀███▄█▄ ▄██▄ ▌▀▐ ▄█▓▄ ▄█▄███▀
▀▀████▄▄ ▀▓█▀▄ ▐▌ ▐▌ ▄▀██▀ ▄▄████▀▀
▀▀▀███▄▄ ▄ ▐▌ ▐▌ ▄ ▄▄███▀▀▀
aeskii by ▄ ▀▀██▄▄ ▄▀ ▀▄ ▄▄██▀▀ ▄
▀▓▀ ▓ ▀██▄ ▄ ▄▄ ▀▀▀▀▀▀▀▀▀▀▀▀▀ ▄▄ ▄ ▄██▀ ▓ ▀▓▀
k!ND ░ ▀▓█ █▀▀ █▄ ▄█ █▀▀ █▓▀ ░
▀ ▄▀ █▄▄ █ ▀ █ █▄█ ▀▄ ▀
v0.2 ▀ ▄ ▀ ..;. Council Music Group .;.. ▀ ▄ ▀