PBS telecast of "Salome"

[Iago]

I had never been a fan of the operas by Richard Strauss (ex. Rosenkavalier). But this telecast PROVED to me that opera is a visual medium as well as an audio medium. This particular opera had lost (for me) about 95% of its possible enjoyment when listening to a cd of it. Even the great Nilsson could not keep me interested.
But this performance starring Katia Matilla was a total revelation. The staging was superb, the camerawork was superb and the orchestra was superb as well. Miss Matilla may have a 2 second nude scene (which was entirely appropriate), yet the camera cutaway just before she revealed her busom. However her nudity could not possiby have enhanced an already breathtaking performance. The entire presentation was so good. that I actually applauded my TV screen at its conclusion. Since PBS (rightly) now transmits its Met Opera presentations in Widescreen HD, the entire scope of the staging and individual acting performances can now come under scrutiny. And if their were Academy Awards for acting in an opera performance, Miss Matilla would have won with no other singer offering any competition.

This opera MUST be seen to be enjoyed to its maximum. An audio presentation (alone) cannot possibly do the job.

[Superhorn]

   I had no idea that this performance was being broadcast on PBS last month and just happened to stumble on the end of it by chance.
  Rats. I hope it will be rebroadcast on PBS soon. I'd also like to get the DVD when it comes out.
  Unlike the one who started this thread, I have always loved the Struss operas, and even admire the less known ones such as Die Schweigsame Frau, Die Agyptische Helene etc, which I consider to be sadly underrated. I hope the Met will do Die Schweigsame Frau sometime soon, perhaps with Thielemann or Luis conducting, and Rene Pape. This is a delightful comic opera , sort of lke Don Pasquale meets Pirates of the Caribbean.

[ChamberNut]

Thanks for sharing this, Iago.  Darn, I missed it too......I'll be on the lookout for the rebroadcast.

[Tsaraslondon]

Even the great Nilsson could not keep me interested.

But then Nilsson was, IMO, vocally and physically totally unsuited to the role and Mattila has been widely, and deservedly, praised for her portrayal.

Now that you have capitulated to the opera, perhaps you could be persuaded to listen to one or two other CD versions; perhaps the Karajan with Behrens, or the Sinopoli with Studer. There is also a wonderful live performance from the Met, conducted by Fritz Reiner and with Ljuba Welitsch as Salome.

[ChamberNut]

Sinopoli with Studer as Salome.

This is the recording I heard.  I immediately liked this opera, even without visual aids. 

[Iago]

This is the recording I heard.  I immediately liked this opera, even without visual aids. 

An opera with NO memorable tunes or arias (for me) is instantly forgettable.
An opera such as Salome (again, for me) requires the visual aspect as well as the audio aspect to receive full enjoyment. YOU can like what YOU like, and I will stick with my preferences, without any tutelage from you.

[Dr. Dread]

I liked it without visual and aural aids.

[ChamberNut]

YOU can like what YOU like, and I will stick with my preferences, without any tutelage from you.

Never said you needed to Iago. 

[Brünnhilde forever]

An opera such as Salome (again, for me) requires the visual aspect as well as the audio aspect

This is the Salome filling all my expectations for a visually and musically satisfying performance - and this Salome is young and vibrant performer, looking like the teenage Salome:

[Brünnhilde forever]

oops, almost wrong picture, let's look at that one:

[Brünnhilde forever]

one more:

[Superhorn]

    Salome is not at all lacking in memorable themes; in fact it's full of them. Maybe not the kind you find in Bellini or Donizetti, but the music of of Strauss in general is very melodious. Maybe you should just give Salome some repeated hearings.

[Homo Aestheticus]

This particular opera had lost (for me) about 95% of its possible enjoyment when listening to a cd of it.

An opera with NO memorable tunes or arias (for me) is instantly forgettable.

Seriously, I find this odd....        I have never met a Wagner enthusiast who also did not adore Salome and Elektra.   

This opera MUST be seen to be enjoyed to its maximum. An audio presentation (alone) cannot possibly do the job.

I can't agree; my Solti/Nilsson recording has gone through a zillion spins.

And if their were Academy Awards for acting in an opera performance, Miss Matilla would have won with no other singer offering any competition

I think the great Teresa Stratas would be able to give her a run for her money.   

[Brünnhilde forever]

I think the great Teresa Stratas would be able to give her a run for her money.   

And so would Nadja Michael in the production I mentioned above. Mattila is simply too old to be a believable Salome..

[Haffner]

Seriously, I find this odd....        I have never met a Wagner enthusiast who also did not adore Salome and Elektra.   

I can't agree; my Solti/Nilsson recording has gone through a zillion spins.

I think the great Teresa Stratas would be able to give her a run for her money.   

Salome, for me, is brilliant for the first half. The last half just seems way too long and labored. I think the librettist kind of beat the thing into the ground (or maybe I just don't like blaming Strauss, a composer I greatly admire).

Yes, the Stratas Salome is a very creepy/cool rendition of the piece.

I think Elektra, Tod und Verklarung, Die Alpensinfonie, Veir Letze Lieder, and Thus Spoke...are the Strauss masterpieces. The only problem I have with Elektra is the fact that Wagner already did that, musically. It's true, Strauss pushed it out further from a cuckoo-compositional perspective (the same could be said for Salome). But (again this is only my opinion) Elektra is a great opera despite the fact that it's derivative.

That said, maybe I'll change my mind if I see the PBS show.

[Brünnhilde forever]

Nilsson was too fat. Matilla is too old.

If you love those ladies because of their great voices, they should have done it - or do it - in a concert performance only.

[Wendell_E]

Nilsson was too fat. Matilla is too old.

If you love those ladies because of their great voices, they should have done it - or do it - in a concert performance only.

Since we've been talking about Nilsson's recording, it is essentially a concert performance.

Not that I'm agreeing that Nilsson was too fat (full-figured, perhaps), or Mattila too old (HD closeups aren't kind, and as someone commented on another forum, Mattila's always looked better at a distance  ).

[Tsaraslondon]

Not that I'm agreeing that Nilsson was too fat (full-figured, perhaps), or Mattila too old (HD closeups aren't kind, and as someone commented on another forum, Mattila's always looked better at a distance  ).

This is a good point. Singers who can be perfectly believable in the opera house, are mercilessly exposed by close-ups and HD (though, to my mind, Nilsson sounds  completely wrong in her recording). But Strauss doesn't make it easy for us. Where in the world will you find a teenager, with a voice large enough to ride the huge orchestra he uses? Compromises have to be made, and audiences have to be prepared to willingly suspend their disbelief. Fortunately, in the theatre, distance lends enchantment, and it is far easier not to notice a few wrinkles.