Notes and Editorial Reviews
The...account conducted by Clemens Krauss eclipsed, at the time, the merits of the [Rudolf] Moralt reading. The last of Krauss's postwar Strauss recordings, it proved a fitting climax to the series before the conductor's death months later. As far as mono allowed, it caught all the amazing power and translucency of the score in a taut, disciplined interpretation. Goltz's Salome is as impressive as it was for Keilberth five years earlier except that her vibrato has uncomfortably loosened in the meantime.
Patzak is again an accomplished Herod: petulant, unpredictable, wheedling (to Salome after she has demanded the Prophet's head) and finally horrified at his stepdaughter's unseemly behaviour — and sung with the utmost
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musicality. Hans Braun is a steady but unimaginative Jochanaan and Margareta Kenny a blowzy, uneven Herodias, but Anton Dermota, with his ardent, liquid singing, is among the most telling of Narraboths.
-- Alan Blyth, Gramophone [2/2005]
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Works on This Recording
1.
Salome, Op. 54 by Richard Strauss
Performer:
Hermann Gallos (Tenor),
Anton Dermota (Tenor),
Hans Braun (Baritone),
Julius Patzak (Tenor),
Margherita Kenney (Soprano),
Else Schürhoff (Mezzo Soprano),
Hugo Meyer-Welfing (Tenor),
Rudolf Christ (Tenor),
Kurt Preger (Tenor),
Herbert Alzen (Bass),
Murray Dickie (Tenor),
Ludwig Weber (Bass),
Franz Bierbach (Baritone),
Harald Pröglhöf (Tenor),
Walter Berry (Bass),
Ljubomir Pantscheff (Baritone),
Christel Goltz (Soprano)
Conductor:
Clemens Krauss
Orchestra/Ensemble:
Vienna Philharmonic Orchestra
Period: Romantic
Written: 1903-1905; Germany
Date of Recording: 03/1954
Venue: Grosser Saal, Musikverein, Vienna
Language: German
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