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Subject: Re: Strauss' Revised Salome
From: Luis Gutierrez <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Fri, 2 Apr 2004 18:58:09 -0600
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Comcast Mail dijo:

> If my memory serves me right (1) upon hearing the first full orchestral
> rehearsal of Salome in a theater with the singers participating, Strauss
> is said to have stated that he made a mistake in so heavily orchestrating
> the work to the point that almost no one could sing the title role, and
> most certainly no soprano who could convincingly portray a young girl on
> stage; (2) that, subsequently and eventually, Strauss re-orchestrated
> Salome for an orchestra of 65 musicians; (3) that Strauss offered the
> title role in the revised opera to Galli Curci [thereby indicating the
> type of voice he was looking for],  and that she turned him down; and that
> the revised version with reduced orchestration eventually/subsequently
> premiered c. 1920.
>
> Would be interested in comments/corrections with regard to the facts and
> with regard to the revised score, if anyone has ever heard it performed.

I heard the revised score in Mexico City five years ago. The revised
version is very convenient for houses that are unable to place all the
maestros that play the 105 instruments.

The result is good, although not in the specific case I mentioned. The
Salome, Karen Huffstodt couldn't cope with the role, polution she said,
and was fired. The cover, Dinah Bryant, was brought from somewhere in the
USA with two days to rehearse and also couldn't cope with the killing
role.
Jochanaan was a favourite of Seattle, Greer Grimsley, who didn't impress
me, Herod was Quade Winter, and Herodias, the best of the ensemble, was
Barbara Dever. BTW, there was a real fight between director, Arturo
Ripstein, a film director, and designer, the painter Cauduro, who just
didn?t talk to each other during the period of preparation. It was the
case in which management decided to be brilliant contracting the "creative
team" without them about the other.

Luckily, I could attend two performances of the current run at the MET,
and was able to recover my interest for this opera.

Luis Gutierrez

Hell must be a place where there is not even
hope of listening to 'Le nozze di Figaro'

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