Richard Strauss - Salome / Peter Hall · Edward Downes · Maria Ewing, · ROH Covent Garden

Richard Strauss - Salome / Peter Hall · Edward Downes · Maria Ewing, · ROH Covent Garden | Maria Ewing, Michael Devlin (II) | Superb technique

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Richard Strauss - ...

	Richard Strauss - Salome / Peter Hall · Edward Downes · Maria Ewing, · ROH Covent Garden Maria Ewing, Michael Devlin (II) Kultur Video, 2001 average customer review:based on 23 reviews view larger image
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highly recommended

While not everyone's idea of a proper opera singer, there's no denying soprano Maria Ewing's artistry as a performer, which is why her portrayal of Strauss's (and, from the original play, Oscar Wilde's) heroine in this 1992 staging is so riveting to watch. Her intensity, often misdirected in other portrayals, is focused on the teenage temptress she's playing, and she even performs a credibly sexy dance of the seven veils. Her then-husband, director Sir Peter Hall, makes sure that the audience sees his wife in the altogether at its conclusion (admittedly something not too many opera singers could pull off).

Otherwise, Sir Peter's production is properly strange, making viewers squirm while watching so many abhorrent people onstage. Michael Devlin is in strong voice as John the Baptist, and Kenneth Riegel makes Tetrarch the heinous devil he surely is. Edward Downes and the Orchestra of the Royal Opera House bring out every thrilling aspect of the young Strauss's still-disturbing score. --Kevin Filipski

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Bravo to all, especially Ewing

Oh my God! I just finished watching this. Maria Ewing is amazing. Her intense focus is wonderful. I saw a live performance of Salome a few years ago in the midwest and wished the Salome and the whole production had been more intense and a little crazy. The whole thing was just too tame. I came away wondering if Salome could be done convincingly. I wonder no longer. This is a stellar performance. It's true that Ewing doesn't always sing the notes but who cares! She gets across the meaning beautifully. Keneth Riegel is also a standout. Kudos to the whole cast. Highly recommended!!!

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Superb technique

Many of the reviews complain about Ewing's vocality, but this is exactly what makes the performance so blood-chilling perfect. Rather than just blasting out all the notes as you average battle-axe soprano would, Ewing uses the German "sing-speak" technique that became so briefly popular in the 20th century among composers of dissonance. Much of her banter is spoken in melody with dramatic inflection, although to the musical notes, and is amazingly effective in portraying a fixated, spoiled, and nasty teeny-bopper. She has perfected operatic creepiness as it was intended for this work.

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Boycott Kultur

All right. I asked for it. Despite my previous resolution not to buy another Kultur DVD ever again I bought this. I had the video, which like almost all Kultur products was, from the technical aspect, second rate. However, the performances of all the major singer/actors, particularly Maria Ewing and Michael Devlin are outstanding; as is the staging. In preparation for the new Salomes about to be released (Teresa Stratas and Karita Matilla) I wanted to have another viewing of this landmark production. My hope was that the DVD would be better than the video.

Silly me!! I foolishly thought that Kultur would have cleaned it up the way responsible companies do before releasing a video as a DVD. But no. Just as with their "Turandot", they start with a shoddy video and rerelease it as a shoddy DVD. The sound (stereo only) and vision are muddy. The subtitles are in English only and cannot be turned off. There are no liner notes and no extras.

So why, you may ask, am I giving it 5 stars? It is for the same reason I would give the Caballe "Norma" five stars despite its flawed recording. This is a unique excellent production. Would that any other company than Kultur had produced this DVD!!

As I wrote in my review of their "Turandot": I wish Kultur would go bankrupt and get out of the way.

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Triumph of a nasty teenager, or nudity is not always sensuous

Plenty of veils, plenty of posturing, plenty of writhing, plenty of bouncing breasts, plenty of nudity, but little great singing and even less good acting.

Narraboth, the captain of the guards, wears what appears to be a full length green chenille bathrobe with long sleeves--lovesick and a pretty boy--but he just doesn't look the part of a captain. Perhaps ironically fitting, unlike most productions where Narraboth uses his sword to commit suicide, here our boy pulls out a small knife and pricks himself to death.

Maria Ewing always seems to be playing to the audience--she doesn't seem to participate in the drama.

The only subtitles are in English, and they cannot be turned off.

Perhaps this production should be retitled "Triumph of a Nasty Teenager." The only relief from the madness is when Herod finally orders his guards, "Let this woman be killed." And they don't even do a good job of that.

Please, there are at least two far better Salomes you should see first: Teresa Stratas and Catherine Malfitano. Save this Maria Ewing Salome until you've enjoyed two superlative productions.

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Salome

I am not really a fan of Strauss operas. They are too dark and ponderous for my taste. But I have treasured an old vinyl record of his "Dance of the Seven Veils' on one side, and 'Although Sprach Zarathustra' on the other. When I found this version of 'Salome' by Maria Ewing, I immediately ordered it, since she is fantastic in 'Il Barbiere di Siviglia'. She is excellent in 'Salome' also. Of course, I was astounded to see her nude ending of 'Dance of the seven veils'.

reviews: page 1, 2, 3, 4, 5

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