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Salome
Although Christel Goltz did not have the longest career, in that short time she became synonymous with the role of Salome. Hearing this recording you can understand why she may have been one of the most ideal champions of one of the hardest roles in the operatic repertoire to cast. Her silvery soprano has both the purity and the power to slice through Strauss' massive orchestra. She approaches the role in a straight-forward way, eschewing the caricature trappings that expressionist music can inspire. The supporting cast is quite good particularly the Jochanaan of Carlos Alexander.
Track List
1. Wie schön ist die Prinzessin Salome heute Nacht!
2. Ich will nicht bleiben.
3. Du wirst das für mich tun, Narraboth, nicht wahr?
4. Wo ist er, dessen Sündenbecher jetzt voll ist?
5. Jochanaan! Ich bin verliebt in deinen Leib
6. Niemals, Tochter Babylons
7. Wo ist Salome?
8. Salome, komm, trink Wein mit mir
9. Das kann nicht sein. Seit dem Propheten Elias
2. Ich will nicht bleiben.
3. Du wirst das für mich tun, Narraboth, nicht wahr?
4. Wo ist er, dessen Sündenbecher jetzt voll ist?
5. Jochanaan! Ich bin verliebt in deinen Leib
6. Niemals, Tochter Babylons
7. Wo ist Salome?
8. Salome, komm, trink Wein mit mir
9. Das kann nicht sein. Seit dem Propheten Elias
10. Tanz für mich, Salome.
11. Tanz der sieben Schleier
12. Ah! Herrlich! Wundervoll, wundervoll!
13. Es ist kein Laut zu vernehmen
14. Du wolltest mich nicht deinen Mund
15. Ah! Ich habe deinen Mund geküsst
11. Tanz der sieben Schleier
12. Ah! Herrlich! Wundervoll, wundervoll!
13. Es ist kein Laut zu vernehmen
14. Du wolltest mich nicht deinen Mund
15. Ah! Ich habe deinen Mund geküsst
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4.5
Based on 2 reviews
✓ Top Reviewer
✓ Top Reviewer
United States
Exciting Performance in Very Good Sound!
Christel Goltz made a number of recordings of Salome including the famous 1954 studio performance under Clemens Krauss. There was a later studio recording under Otmar Suitner made sometime in the early 60s, but this is from a live performance in Duisberg circa 1958. Goltz never had a beautiful voice. It could be unsteady and shrill, but she knew what she was doing every moment and her specificity pays off. She is less overtly mad than she was for the Met three years earlier; somehow her voice is steadier and more of a piece than it was four years earlier. The other singers are all first-rate although their voices are less glamorous than some others I've heard. Wilhelm Ernest sings Herod's music with great musicality, rarely resorting to shouting and Ingeborg Lasser is a memorable Herodias, every inch the vindictive, jealous mother. Carlos Alexander and Georg Paskuda are also excellent. I have no complaints about the rest of the cast. Quennet leads a fluent performance, notable for its lyricism and excitement.The sound is very good, the voices heard clearly over the orchestra. There is some volume wavering in the second half of the opera, but it's not very distracting and doesn't last. We're lucky to have yet another souvenir of Goltz's interpretation; any Salome lover should hear this.
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