Salome: Scene 1 -- Wie schon ist die Prinzessin Salome huete nacht!
Salome: Scene 1: Nach mir wird Einer kommen
Salome: Scene 2: Ich will nicht blieben
Salome: Scene 2: Siehe, der Herr ist gekommen
Salome: Scene 2: Jauchze nicht, du Land Palastina
Salome: Scene 2: Du wirst das fur mich tun
Salome: Scene 3: Wo ist er, dessen Sundenbecher jetzt voll ist?
Salome: Scene 3: Jochanaan! Ich bin verliebt in deinen Leib
Salome: Scene 3: Wird dir nicht bange, Tochter der Herodias?
Salome: Scene 4: Wo ist Salome?
Salome: Scene 4: Es ist kalt hier?
Salome: Scene 4: Salome, komm, trink Wein mit mir?
Salome: Scene 4: Sieh, die Zeit ist gekommen
Salome: Scene 4: Wahfhaftig, Herr, es ware besser
Salome: Scene 4: Siehe, der Tag ist nahe
Salome: Scene 4: Eine Menge Menschen wird sich gegen sie sammeln
Salome: Scene 4: Tanz fur mich, Salome
Track Listings (9) - Disc #2
Salome: Scene 4: Salome's Dance
Salome: Scene 4: Ah! Herrlich! Wundervoll, wundervoll!
Salome: Scene 4: Still, sprich night zu mir!
Salome: Scene 4: Salome, bedenk, was du tun willst
Salome: Scene 4: Man soll ihr geben, sie verlangt!
Salome: Scene 4: Es ist kein Laut zu vernehmen
Salome: Scene 4: Ah! Du wolltest mich nicht deinen Mund kussen lassen, Jochanna!
Salome: Scene 4: Sie ist ein Ungeheuer deine Tochter
Salome: Scene 4: Ah! Ich habe deinen Mund Gekusst Jochanaan
With so many fine recordings of Salome already available, the question must be asked if this new recording was really necessary. The answer is an emphatic "Yes!" The reason: Inga Nielsen is an extraordinary, magnificent... more » singing actress in the title role. Her voice has something of the legendary Ljuba Welitsch's girlish innocence, and her way with the text reveals an artist totally attuned to every dramatic nuance that Strauss offers. From its innocent beginnings, her portrayal reaches a positively terrifying apotheosis of decadent savagery in one of the most disturbing final scenes on disc. Comparisons with such illustrious names as Nilsson, Borkh, and Goltz are completely justified. Nielsen's is, above all, a complete Salome, a total characterization such as happens only rarely on disc. The supporting cast is also very strong, and Schonwandt conducts with passion and urgency. Toss in magnificent recorded sound, and the result is a performance for the ages from a source that no one could ever have expected. --David Hurwitz« less
With so many fine recordings of Salome already available, the question must be asked if this new recording was really necessary. The answer is an emphatic "Yes!" The reason: Inga Nielsen is an extraordinary, magnificent singing actress in the title role. Her voice has something of the legendary Ljuba Welitsch's girlish innocence, and her way with the text reveals an artist totally attuned to every dramatic nuance that Strauss offers. From its innocent beginnings, her portrayal reaches a positively terrifying apotheosis of decadent savagery in one of the most disturbing final scenes on disc. Comparisons with such illustrious names as Nilsson, Borkh, and Goltz are completely justified. Nielsen's is, above all, a complete Salome, a total characterization such as happens only rarely on disc. The supporting cast is also very strong, and Schonwandt conducts with passion and urgency. Toss in magnificent recorded sound, and the result is a performance for the ages from a source that no one could ever have expected. --David Hurwitz
"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!"
Powerful recording of a skin-crawling classic
Bruce Hodges | New York, NY | 09/17/2004
(5 out of 5 stars)
"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."
Discover Denmarks leading soprano!
The Cultural Observer | 05/21/1999
(4 out of 5 stars)
"Inga Nielsen is one of the finest sopranos in Denmark - or the world, even! Her voice is superbly beautiful, though not without a touch of drama. She is a "singing actress", exactly what is called for in "Salome". I wouldn't hesitate to compare her with Cheryl Studer on DG, though I still find Behrens (with Karajan on EMI) to be the most convincing portrait of the depraved princess. The other members of the cast are very satisfying: Perhaps Goldberg and Silja sing too beautifully - compared to Sinopoli on DG they don't convey the same image of depravity and insanity. The smaller roles are well cast, mainly with distinguished members of the Royal Danish Opera."
GREAT SALOME
The Cultural Observer | 09/20/1999
(5 out of 5 stars)
"Inga Nielsen is sublime, supremely sweet from the first note. The finalscene is divine. This recording is a MUST for all Strauss lovers. The sound is remarkably fine. Inga Nielsen is a great and dramatic singer. Her next role will be Norma in Berlin."
Eerily Fascinating!
The Cultural Observer | 01/25/2007
(5 out of 5 stars)
"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."
Track Listings (17) - Disc #1