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Salome Import


Price: CDN$ 182.95
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Product Details


Disc: 1
1. Salome, opera, Op. 54 (TrV 215)
2. Salome, opera, Op. 54 (TrV 215)
3. Salome, opera, Op. 54 (TrV 215)
4. Salome, opera, Op. 54 (TrV 215)
5. Salome, opera, Op. 54 (TrV 215)
6. Salome, opera, Op. 54 (TrV 215)
7. Salome, opera, Op. 54 (TrV 215)
8. Salome, opera, Op. 54 (TrV 215)
9. Salome, opera, Op. 54 (TrV 215)
10. Salome, opera, Op. 54 (TrV 215)
See all 19 tracks on this disc
Disc: 2
1. Salome, opera, Op. 54 (TrV 215): Ah! Du wolltest mich nicht
2. Salome, opera, Op. 54 (TrV 215): Ah! Warum hast du mich
3. Salome, opera, Op. 54 (TrV 215): Sie ist ein Ungeheuer
4. Salome, opera, Op. 54 (TrV 215): Ah! Ich habe deinen Mund geküßt
5. Salome, opera, Op. 54 (TrV 215): Ah! Du wolltest mich nicht
6. Salome, opera, Op. 54 (TrV 215): Ah! Warum hast du mich
7. Salome, opera, Op. 54 (TrV 215): Sie ist ein Ungeheuer
8. Salome, opera, Op. 54 (TrV 215): Ah! Ich habe deinen Mund geküßt
9. Salome, opera, Op. 54 (TrV 215): Ah! Du wolltest mich nicht
10. Salome, opera, Op. 54 (TrV 215): Ah! Warum hast du mich
See all 11 tracks on this disc

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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 2 reviews
8 of 8 people found the following review helpful
Silja's wonderful... counterparts! Nov. 13 2000
By Ha-De Nguyen - Published on Amazon.com
This recording of Salome long was thought lost but finally finds here a good remastering thanks to MYTO (personally I still hope they will find the Della Casa's at Munich!). Silja was young and wild and.. a unique dancer as certainly was Salome. On stage, she must have been fabulous but reduced to vocal acting, she cannot be compared to Welitsch, Varnay or Borkh. Even one would prefer Nilsson in those sixties to get at least some exciting top notes! Silja's interpretation is a little anonymous without the energy she provided to her wagnerian roles. A deception! But one must buy those CDs to get the unique interpretation of Varnay, perhaps a little overplayed but so theatrical! Stolz is as characterful although one can prefer a true heldentenor voice for this role. Wächter is wonderful, sounding young in a typical Vienna way (lost since). The best interpretation is that from Wunderlich, but so beautiful a voice in so small a part! But probably the true Straussian listener will buy these CDs for the second alone. First, one of MYTO's engineer has tried to get a pseudostereo ( whilst first CD is in mono!), which gives much more relief to Silja's final scene (try it with a headphone!). And additional excerpts given at the end are fabulous! Varnay gives her outstanding and last interpretation from Salome in a better sound than the integral reissued by Orfeo. Borkh is as characterful but less disciplined with her vocal technique and Welitsch gives her last studio recording with Reiner in 1949. The Salome of the century here had already lost her internal fire intensity although the voice still was in good condition (go back to EMI's studio with Karajan in 1947 or live again with Reiner at the Met in 1949, both a legend! but avoid 1952 again with Reiner at the Met!). Let you deep inside Salome's final scene 4 times during an hour!
Silja's best, probably only available, Salome. April 15 2015
By pekinman - Published on Amazon.com
Anja Silja was a famous Salome, some think the best of the 20th century. Some others think that crown goes to Ljuba Welitsch (Reiner), Birgit Nilsson (Solti) or Inge Borkh (Keilberth). There are also strong runners with Leonie Rysanek (Böhm), Inga Nielsen (Schønwandt), Hildegard Behrens (Karajan) and Catherine Malfitano (Dohnanyi). I think that each of these women delivers something unique to this endlessly fascinating role and all are worth collecting.

Strauss's ideal Salome, a 16 year old with the voice of an Isolde, is most closely achieved by Silja. Borkh's almost caricatured hell-spawn adolescent is a little fake, rather like Maria Callas's Cio Cio San. Both those ladies were superlative actresses and could morph their voices into the strangest contortions to achieve a desired impersonation, but often sounding too contrived for repeated listening except upon special occasions when you need to simply hear something marvelously outrageous. Silja is thoroughly natural throughout this performance. She sounds like a sexually precocious 16 year old without having to resort to vocal tricks.

It is a pity Silja wasn't recorded under more controlled conditions than this, though this is a very good live performance. The sound is focused closely on the soloists on stage yet with the orchestra in good focus, if not as detailed as in the finest studio recordings.
Zdenek Kosler was a fine conductor, hailing from Czechoslovakia. He was one of the co-winners of the Mitropoulos competition in New York, along with Claudio Abbado (!). Kosler went on to spend a year being the assistant conductor of the New York Philharmonic with Leonard Bernstein's mentorship. After that he made a nice career in Europe. He was apparently one of those self-effacing and gifted men who did not seek the lights and glam of the big stages and studios. He conducted out of love for the music. His leadership of Salome, his one stint at the Vienna state opera, is very well done. He doesn't do anything fancy or eccentric, he lets the music speak for itself, rather like Richard Strauss did himself. The result is very compelling. The momentum never flags or gets prosaic. If there is a slightly anonymous tint to the final scene that could have been more a result of helping a tiring soprano get through to the end without faltering. Silja shows no signs of fatigue but a considerate conductor always makes allowances for the best singers.

The supporting cast is worthy of a first class studio recording. Fritz Wunderlich (Narraboth) is a treasure to be found nowhere else, Gerhard Stolze's Herod is even finer here than he was for Solti's studio set because he is in no way exaggerated or caricatured, and the live event evokes the most vivid impersonation from him. He is coupled by the indomitable Herodias of Astrid Varnay, whose laughter at Herods discomfiture is a joy to hear, hardy-had-har-haring with great jubilance at her daughter's request for the head of St John. Eberhard Wächter is as great live as he was in John Culshaw's souped up studio a few years earlier for Solti.
The natural acoustic is even more flattering to his beautiful voice. All minor roles are cast from the strong roster of the state opera of the day, 1965.

The sound is excellent. This could be a first choice but for the lack of a libretto. There is one but it is only in German. So this is not a first choice but it is a necessary addition to any Salome collection in any serious Salome-addict's library.


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