In the booklet accompanying this release, Scott D. Paulin rightly explains Leonie Rysanek’s total commitment to and involvement in the role of Salome. He accurately and vividly describes the “vocal schizophrenia” inherent in her high and low registers/utterances, and indeed, as someone who heard Rysanek in the role live and was invariably impressed with her passion, ease with high notes, and remarkable mania, I agree with him. I also agree that her Salome is riveting–pure and simple. But even the most die-hard Rysanek fans have to mention the fact that she often sang off-key, fortunately invariably sharp rather than flat (which can come across as “intense” rather than unappealing). And in this performance, which is electrifying, she sings wildly a great deal of the time; in her confrontation with Jokanaan she’s berserkly off-pitch, veering in every which direction. Purists need be concerned and informed.
The rest of the performance is equally extreme, particularly the conducting of Karl Böhm, certainly one of the great Strauss conductors of the 20th century. His attention and tension-building never flags, and this horror-show of an opera is just as it should be–an in-your-face experience. The orchestra can be a bit slovenly, but Strauss’ brightly colored, unique score nevertheless is well presented, and there won’t be any disappointments if it’s the thrill of it all you’re looking for.
Beyond Rysanek, the rest of the cast is respectable enough. At first, Eberhard Waechter is a bit blowsy as the Baptist, but he gathers steam and potency as the part continues. Grace Hoffman is a finely trashy Herodias; Hans Hopf, one of the most common-minded tenors of the mid-century, is too literal but generous-voiced as Herod; and the rest are a fine ensemble. December 22, 1972 must have been quite a night at the Vienna State Opera–this set buzzes with excitement. But if I wanted to hear it with all the notes in the right place, plenty of kicks, and just a bit less abandon, I’d go either to Nilsson and Solti on Decca, or to Behrens, in a very compelling reading with Karajan–or even to Caballé, a remarkably sultry and loony Salome on RCA. This inexpensive, good-sounding, well-presented set is awe-inspiring on many levels, but it’s not a Salome that shows utter respect for the score. And yes, you can have it all. Elsewhere.
