All the material on this disc appears for the first time on CD. From an engineering standpoint, Aus Italien stands out among Clemens Krauss’ Strauss recordings for Decca. So does the Vienna Philharmonic. Granted, the first movement at times is hampered by patchy string tone and ragged ensemble. Have faith, because the musicians catch fire as they peruse the second movement’s Roman Ruins with pointed eagerness. By the end of the Andantino, the Vienna strings find their center and Krauss gently whips up the all-over-the-place Tarantella, complete with its awkward cribbing from “Funiculì, Funiculà”. Of course there are terrific modern versions of this early Strauss opus that offer updated sonics and more sophisticated orchestral playing. Still, one can listen to Krauss’ Aus Italien more easily than, say, his Ein Heldenleben, Also Sprach Zarathustra, or Don Quixote.
The same holds for excerpts from the conductor’s 1954 complete Salome, featuring Christel Goltz’s strong, girlish soprano in the title role, Julius Patzak’s classic Herod, and Margareta Kenney’s ample, commanding Herodias. Added echo creates an effective illusion of Hans Braun’s Jokanaan ringing out from a genuine cistern. This isn’t the sultriest Dance of the Seven Veils on disc, nor does Goltz’s Final Scene match the demented excitement of Borkh/Reiner, Nilsson/Solti, or any of Welitsch’s fiery recordings. Still, it’s good to have these excerpts restored to the catalog. Hardcore collectors will wonder why the entire opera wasn’t reissued. Only Testament knows for sure.
