Charles Mackerras turns in an exceptionally fine reading of Salome for Chandos' Opera in English series. His interpretation is shapely and psychologically astute, particularly fierce and dramatically charged, and the Philharmonic Orchestra plays with appropriately primal abandon; there is never a danger of things flying out of control, but the wild energy Mackerras generates creates an almost unbearable tension. It's also a highly disciplined performance; details of orchestration emerge with wonderful clarity and precision. ...
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Charles Mackerras turns in an exceptionally fine reading of Salome for Chandos' Opera in English series. His interpretation is shapely and psychologically astute, particularly fierce and dramatically charged, and the Philharmonic Orchestra plays with appropriately primal abandon; there is never a danger of things flying out of control, but the wild energy Mackerras generates creates an almost unbearable tension. It's also a highly disciplined performance; details of orchestration emerge with wonderful clarity and precision. In other words, it's close to ideal for the outrageousness of Strauss' opera. The vocal performances are all very fine, and some are outstanding. John Graham-Hill's Herod is especially vivid. His vocal delivery is wonderfully natural; his wheedling sounds desperately pathetic, and in his fear and rage he sounds genuinely deranged. His attempts to bargain with Salome over the reward for her dance are among the most powerful moments in the recording. Sally Burgess is well-matched as...
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