Prom 58 30.08.14: Salome, Deutsche Oper Berlin, Runnicles

[Eine Alpensinfonie]

Saturday, 30 August
7.30 p.m. – c. 9.35 p.m.
Royal Albert Hall

Richard Strauss & Hedwig Lachmann: Salome, Op 54 (first complete performance at The Proms)

In Richard Strauss's 150th-anniversary year the Proms presents a double bill of his two great tragedies. On consecutive nights his heroines Salome and Elektra meet their bloody ends in the Royal Albert Hall. Tonight, Donald Runnicles brings his Deutsche Oper Berlin forces to the Proms for Salome. Star soprano Nina Stemme leads the cast as the troubled princess.

Richard Strauss: Salome

Herod: Burkhard Ulrich (Tenor)
Herodias: Doris Soffel (Mezzo-Soprano)
Salome: Nina Stemme (Soprano)
Jokanaan: Samuel Youn (Baritone)
Narraboth: Thomas Blondelle (Tenor)
Herodias Page: Ronnita Miller (Alto)
1st Jew: Paul Kaufmann (Tenor)
3rd Jew: Jörg Schörner (Tenor)
4th Jew: Clemens Bieber (Tenor)
5th Jew: Andrew Harris (Bass)
1st Nazarene: Noel Bouley (Bass-Baritone)
2nd Nazarene: Carlton Ford (Baritone)
1st Soldier: Marko Mimica (Bass-Baritone)
2nd Soldier: Tobias Kehrer (Bass)
Cappadocian: Seth Carico (Bass)
2nd Jew/A Slave: Gideon Poppe (Tenor)

Deutsche Oper Berlin
Donald Runnicles (Conductor)

After seeing Oscar Wilde's play Salomé, Richard Strauss was overcome with the feeling that it "cried out for music."

Wilde wrote his drama on "the sinfulness of innocence" in French and Strauss used a German translation by Hedwig Lachmann as his libretto. First performed in Dresden in December 1905, Salome gave Richard Strauss his first international opera success.

The story is one that takes passion to its extreme and beyond. Salome is the sultry princess of ancient Judea. Her stepfather, Herod, has promised Salome half of his kingdom in exchange for a sensual dance. In return, she asks that he gives her the head of John the Baptist on a silver platter...

In the title role, for which Strauss famously wished for a 16-year-old princess with the voice of an Isolde, is one of the world's leading dramatic sopranos, Nina Stemme.

[Nick Armstrong]

What do we think of Nina Stemme? I have the vague recollection of finding her disappointing....

Hope it doesn't turn into a Wobblefest.... (Amazing that Doris Soffel is still 'producing'... Her name appeared in the DG catalogues I used to browse while still a teenager. Yes, I needed to get out more...)

But the orchestra and conductor should nail this; and with a bit of luck they can drown out any dodgy warblers

[Prommer]

Nina Stemme is amazing, the reigning Isolde and Brunnhilde, so her Salome could be very interesting indeed. Runnicles is a great Wagnerian too, so ditto for him in Strauss. An evening to look forward to!

[Prommer]

Samuel Youn is fresh from singing the Dutchman in Bayreuth, and Burkhard Ulrich has been its Mime...

[Serial_Apologist]

But the orchestra and conductor should nail this; and with a bit of luck they can drown out any dodgy warblers

"Louder, louder! I can still hear the singers!"

[Prommer]

Interesting, isn't it, how both Wagner and Strauss scored for such large orchestras and then insisted that this should cause no problems for singers, implying that it is really a matter of technique (plus just size of voice I guess).

Obviously, this causes fewer problems in Bayreuth with its covered pit (where to the singers the orchestra sounds incredibly loud nevertheless), or to a lesser degree in a more conventional opera house, but surely this is a bigger issue in concert. Though perhaps with the right sound engineering, one could argue that this is less of an issue with the aptitude that the RAH offers the human voice? Even if those in the Hall on the night don't seem to get the right balance?

I always enjoy hearing the orchestral detail in an an opera performance done in concert, but there are always roundabouts to every swing.

[CallMePaul]

Nina Stemme is amazing, the reigning Isolde and Brunnhilde, so her Salome could be very interesting indeed.

...but Frau Stemme is not exactly a 15-year old princess! On a more serious note I feel that she may be vocally more suited to Elektra, but I will look forward to hearing both operas.

[austin]

...but Frau Stemme is not exactly a 15-year old princess! On a more serious note I feel that she may be vocally more suited to Elektra, but I will look forward to hearing both operas.

If she sounds like this... http://tinyurl.com/pb2xje3 I am looking forward to hearing her!

[gradus]

Thanks for the link , she has a magnificent voice and I look forward to hearing her.

[gradus]

Stemme as Salome://www.youtube.com/watch?v=eebT9V5MyVg

[Flosshilde]

Did I just hear a little echo (or prefigure) of Bachus' entry at the end of Ariadne?

[gradus]

Top that!

[Keraulophone]

She just did (top 'im).

[LeMartinPecheur]

Amazing that Doris Soffel is still 'producing'... Her name appeared in the DG catalogues I used to browse while still a teenager. Yes, I needed to get out more...

Born 12/5/48 according to Wiki. She didn't do too badly tonight I thought...

So maybe there's still a chance of my doing Wotan at Bayreuth - I'm only just 60

[Zucchini]

Gwyneth Jones sang the same part for Gergiev in Verbier 4 years ago at the age of 74! (Siegfried Jerusalem was Herod and Debbie Voigt Salome)

But my goodness Nina S earned her money. She gave 110% & sang with extraordinary courage, commitment & confidence. Great stuff.