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Subject: Re: Salome
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Sun, 18 Dec 2016 10:39:51 -0500
Content-Type:text/plain
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text/plain (135 lines)


Ryan's "interpretation" is plausible, but Oscar Wilde's play which the
libretto is based on, word for word, specifically aims Herod's command at
Salome.

Vogue magazine, after her Met debut in the role, which I had attended,
featured a full page, full color, full length photograph of Ljuba Welitch,
with red hair and sparkling green robe against a bright full moon, and
captioned "the great star of Salome".  Was she ever!  Matilla, in 2004
was filmed in her sensational performance, the release of which Robert
White had so often begged for, every time Sirius aired the less compelling
later broadcast.   My very favorite though, is Teresa Stratas, who may
never have been able to do vocal justice to Salome on stage, but wipes
away all competition in a virtual personification of what both Strauss and
Wilde had in mind.  With Varnay as Herodias, and the great Karl Bohm
conducting the Vienna Philharmonic, it is a SALOME not to be missed.

dtmk

On Sat, Dec 17, 2016 at 7:17 PM, Jon Goldberg <[log in to unmask]> wrote:

> For me, that interpretation makes an even stronger case for the tenor to
> sing the cadential
> upward scale that Strauss actually wrote (on "-te dieses weib") instead of
> avoiding the
> pitches altogether. Screaming the line to me feels more like a loss of
> control - singing
> those last pitches could be more of a creepy "handoff" to Herodias, in the
> below scenario.
> (Followed by the outburst in the orchestra, which can represent the big
> yell that Herod
> decides to cap.)
>
>
>
>
> On Sat, 17 Dec 2016 17:52:02 -0500, Dennis Ryan <[log in to unmask]> wrote:
>
> >Hi, Y'all!
> >    I really rather liked the delivery of that last  line.  But then, I am
> >in a distinct MINORITY about Herod's primary  motivation for delivering
> it,
> >even though there are other motives  clearly driving him as well.  Most
> >people seem to believe that  Salome's kissing the lips of John the
> Baptist's
> >severed head is at last a  deed that even Herod finds to be beyond the
> moral
> >pale,  so that even HE is at last offended by the immorality that he has
> >sanctioned and, indeed approved of and encouraged at his court.  I see
> this as
> >a lesser factor, here, just as his lust for Salome is less  a driving a
> >force than another, more powerful one.  Given the  immoralities that have
> been
> >seen, heard, spoken, and done at Herod's court, not  only during the
> course
> >of the opera but during the history of his reign, and all  with his total
> >approval, Herod would quite logically find "the kiss"  ironically
> amusing, and
> >would positively chortle his approval.  No matter  how he may "lust" after
> >Salome, the love of Herod's life is Herodias.  This  "love" has always
> been
> >expressed through an intense love/hate  relationship that has run so deep
> >that it has become a defining life experience  for both of them.  The
> opera
> >merely depicts the latest round in Herod's and  Herodias' years-long game
> of
> >"Who's Afraid of Virginia Woolf," in which they  have been playing the
> roles
> >of George and Martha with great  enthusiasm--one-upmanship carried to the
> >extreme.  In my imagination, I can  clearly visualize Herod, after
> delivering
> >that final line, turning to his wife  with the most lovingly vicious smirk
> >that he can muster, and growling, "The ball  is now in your court, my
> dear."
> >    Cheers,
> >    Dennis Ryan
> >
> >
> >
> >
> >In a message dated 12/17/2016 4:12:06 P.M. Central Standard Time,
> >[log in to unmask] writes:
> >
> >It does bother me when tenors "fake" too much of Herod - I'd say  today's
> >tenor did pretty
> >well with the role. I didn't like his yelling the  last line, though.
> >
> >
> >
> >
> >
> >
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