It's not because I am a Bulgarian, it's not even because I have the same family name as Ljuba... Her performance is beyond time and transcends any limits of craziness and perversion that the role requires and all of it can be perceived on purely sonic level - the vibrato, the exaltation, the energy typical only for certain mental conditions.... it's all in the performance and no schooling and talent can surpass it after so many years. A standard, so high that we can only be grateful to have such a good recording from those years...
Nice to meet you, I'am a Bulgarian too. Another good recording: Salome, Op. 54: Final Scene · Ljuba Welitch · Fritz Reiner · Richard Strauss · Metropolitan Opera Orchestra @ th-cam.com/video/PjgCaXMDIk0/w-d-xo.html
Jassenjj , il n’y a rien à ajouter de votre excellent commentaire . Vous êtes un vrai mélomane , vous connaissez l’âge d’or du répertoire lyrique . Personnellement je ne connaissais pas subtilement Ljuba . J’ai fondu pour l’art de M.Cebotari . J’aime en général l’enregistrement live d’Opéras et des voix des années 20 / 60 . Le Lied aussi me séduit ainsi que les leçons de ténèbres .
I agree entirely - Ljuba Welitschkova is the greatest Salome of all. She personifies the psychotic adolescent who transcends everything to reach an ecstasy all her own - the most wonderful APOTHEOSIS in all of opera.
Phenomenal! How is this even possible. I had just listened to Birgit Nielsen's Salomé and that was fabulous but this is even more climactic. Chills all over!
A voice vulnerable, oversexed and youthful sounding...but large enough to hover over lush massive orchestration. Makes me tingle. IMAO, the best Salome ever. Thank you for uploading!
What a voice! Powerfull, endless and always melodic, even at the highest peaks! It's a really pitty that her performance (as well as Cebotari's) were not filmed at the time...
Watch the movie The Man Between, starring James Mason. There is a scene towards the end that takes place in an opera house in (I think) East Berlin, Anyway, Ljuba Welitsch is the Salome.
Tout à fait . La grande Cebotari me hante à chaques écoutes . Cet enregistrement est d’une importance capitale , Ljuba impose sa voix qu’elle module à volonté .Elle aussi plie le metal de ses vocalises .
The greatest Salome performance in the history of recordings! Even if only an excerpt. The perfect incarnation of Strauss' conception of a sex-crazed teenage girl. Welitsch is young enough to really sound like that. Strauss' vocal type for the role is really a coloratura soprano, with the unique combination of a soaring easy top, and a strong and extensive low range. But with great point, focus, and penetrating power. Strauss himself picked Welitsch out as fitting his conception of the character. Here her voice has greater youth, tensile strength and freshness than her later 1949 Met performance - in which nevertheless she nevertheless preserved a rather youthful sound in the voice. This 1944 aircheck in Vienna is perfection. And the palpable intensity of this performance was perhaps further sparked by the Russian Army being practically at the city gates of Vienna at that point.
Ah! Last but not least... The music from Strauss is just fantastic! He got really engaged into this opera from the very beginning! RS is one of my favorite composers!
I just read the plot of the Opera... I think I knew it but it was interesting to refresh my memories.. Her german singing sounds beautiful.. She was a great soprano!! What a story eh? (^_-) Cheers and Good Night Wolvi! Thanks for this memorable moment...
Salome is a Biblical character... You may not accept the Bible, but it does exist with all its characters (hundreds of them whom you may like or dislike as I do).
@@JoseAntonio-dt6zt L'épisode de Salomé en rapport avec Saint-Jean Baptiste est conté dans trois des Évangiles, nottament dans celui de Saint Marc 5.40, étant le plus explicite, mais aussi d'un façon plus succincte dans Saint Mathieu 14, 3-12 et aussi chez Saint Luc, 3, 19-20. Or la chronique biblique en donne une référence bien différente à celle qui a servi d'intrigue au livret de Hugo von Hoffmannsthal à partir duquel Richard Strauß écrivit la musique. La narration biblique ne dévoile qu'une référence bien plus paisible de l'histoire dont le sujet du supposé l'amour-passion de Salomé envers le Prophète, cousin germain ou au deuxième degré de Jésus, est absent. Le roi Hérode avait épousé Hérodiade, veuve de son défunt frère Philippe. Donc ce fait étant considéré comme tenant du péché d'après la loi juive, le Baptiste rappelait cette situation à Hérode et surtout à son épouse Hérodiade, qui était furieuse avec Saint Jean-Baptiste. Hérodiade voulait tout simplement assassiner le Baptiste pour en finir d'une bonne fois avec la question. Mais elle ne pouvait pas le faire, parce que son époux le roi Hérode Antipas respectait Saint Jean, le sachant juste et saint. Lorsqu'il écoutait le Prophète il restait perplexe, mais quand même il l'écoutait avec plaisir. Or un beau jour l'occasion s'est présentée. Hérode fêtait son anniversaire et offrit un banquet à ses dignitaires, officiers et notables galiléens. C'est alors que Salomé, fille d'Hérodiade, s'est mise à danser et sa danse plût tellement à Hérode et à ses convives, que le roi dit à sa nièce : "Demande-moi ce que tu veux et je te le donnerai" Donc Salomé entra en conciliabule avec sa mère Hérodiade l'interrogeant sur ce qu'elle devait demander. Or Hérodiade profita de la situation pour aboutir à son dessin. Elle pria Salomé de demander la tête du Baptiste. Le roi Hérode s'attrista mais quand même dût accomplir sa promesse devant ses convives. La requête fût donc accomplie. Mais ce qui est à la base de cette interprétation de l'épisode biblique est la pièce Salomé écrite en français par Oscar Wilde (1856-1900) au cours de son séjour en France. Cette question de l'amour passionné et obsédant de la princesse juive envers le Baptiste a été établie par Wilde dans sa pièce de théâtre. Donc cette histoire trouble ne pouvait que séduire Hoffmannsthal, lui servant d'inspiration pour écrire le livret de l'opéra de Strauß. Lorsqu'on écoute les merveilleux sons de la voix de Ljuba Wellitsch et la rare beauté des accords de l'orchestre dessinant leur mélodie d'apothéose finale on ne peut que songer à l'énorme valeur d'une création artistique supérieure.
Extraordinary recording. It is interesting that Studer's top extension is uncannily like Welitsch's in this scene. The difference between the two is that Studer creates more dynamic variety. In any case, I have uploaded Studer's, for reference.
Which Theatre is shown at 06:00 and 07:17? Look beautiful and perhaps familiar! Nice editing Wolvi... clean and memorable images! Thanks again... Eddy.
Certainly not recorded in 1944 by the "austrian" radio. Maybe by the Reichsenders Wien, active till mid 1945, the official broadcast service of the Grossdeutsches Reich of which the former "Austria" was a part
wolverine3566 Yes, it's a nazi recording. But it's great singing, astonishing, sublime in fact. Welitsch have everything, a great voice and the power of expression.She impersonates perfectly the young and perverse Salome. From the begening to the end it's perfect. Thanks.
Peut-être existait-il à l'époque un service appelé "Ostmarkisches Rundfunk" ou quelque chose de semblable. Je tiens á vous rappeller que la brave Autriche Impériale d'antan avait été annexée comme une simple province allemande à partir du désarroi d'un plébiscite plus feint que réel, et le nom du pays a été changé. Ce n'était plus l'Autriche mais l'Ostmark. De même Vienne la bien-aimée cessa d'être la capitale de l'Ostmark, même que cela semble impossible. La nouvelle capitale de l'Ostmark fût la ville de Graz, dans les Alpes.
@@hrvoje14 I don't know exactly, my friend. I've got this record digitally from a German friend and decided to share it, because didn't find any other such on TH-cam. Furthermore, they find coincidence in only 70 secs with someone else registered record. I found the record with Lovro von Matacic, it is shorter.
@@wolverine3566 I think the performance under the composer himself was the proper/full opera production. This recording is the final scene as adapted for solo soprano concert performance (the 2 overlapping segments with Herod are cut), which became quite routine/normal practice quite early on since the opera’s premiere. I read somewhere about the 1944 concert performance under Matacic, but idk, maybe there were others that were preserved as well?
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*Viva Vivaldi* classical music's playlist @ th-cam.com/video/rV4aolLD3so/w-d-xo.html
This woman was a genius. The most fascinating Salome I've ever heard.
Fantastic interpretation. She sounds 16 years old. Absolutely thrilling!
Phenomenon indeed!
It's not because I am a Bulgarian, it's not even because I have the same family name as Ljuba... Her performance is beyond time and transcends any limits of craziness and perversion that the role requires and all of it can be perceived on purely sonic level - the vibrato, the exaltation, the energy typical only for certain mental conditions.... it's all in the performance and no schooling and talent can surpass it after so many years. A standard, so high that we can only be grateful to have such a good recording from those years...
Nice to meet you, I'am a Bulgarian too. Another good recording: Salome, Op. 54: Final Scene · Ljuba Welitch · Fritz Reiner · Richard Strauss · Metropolitan Opera Orchestra @ th-cam.com/video/PjgCaXMDIk0/w-d-xo.html
Jassenjj , il n’y a rien à ajouter de votre excellent commentaire . Vous êtes un vrai mélomane , vous connaissez l’âge d’or du répertoire lyrique . Personnellement je ne connaissais pas subtilement Ljuba .
J’ai fondu pour l’art de M.Cebotari .
J’aime en général l’enregistrement live d’Opéras et des voix des années 20 / 60 . Le Lied aussi me séduit ainsi que les leçons de ténèbres .
My hat off to you. There is simply no one like her in this role. Sublime. She was a genius.
I am not Bulgarian but I fully agree with every word you say!
I agree entirely - Ljuba Welitschkova is the greatest Salome of all. She personifies the psychotic adolescent who transcends everything to reach an ecstasy all her own - the most wonderful APOTHEOSIS in all of opera.
This is the magic singing (not known today)! Strauss picked Ljuba to finish and come true his exceptional creative ideas from 1905!
Phenomenal! How is this even possible.
I had just listened to Birgit Nielsen's Salomé and that was fabulous but this is even more climactic.
Chills all over!
Maria Cebotari , aussi du haut niveau
Ein fest der Stimme, nicht des Vibratos wie heutzutage üblich-und man versteht's auch noch!
And somehow her voice conveys a girlish quality. She was a miracle in this role.
A voice vulnerable, oversexed and youthful sounding...but large enough to hover over lush massive orchestration. Makes me tingle. IMAO, the best Salome ever. Thank you for uploading!
My pleasure, you're welcome!
What a voice! Powerfull, endless and always melodic, even at the highest peaks!
It's a really pitty that her performance (as well as Cebotari's) were not filmed at the time...
Let's be thankful for audio records :) Thank you for watching!
Watch the movie The Man Between, starring James Mason. There is a scene towards the end that takes place in an opera house in (I think) East Berlin, Anyway, Ljuba Welitsch is the Salome.
Tout à fait . La grande Cebotari me hante à chaques écoutes .
Cet enregistrement est d’une importance capitale , Ljuba impose sa voix qu’elle module à volonté .Elle aussi plie le metal de ses vocalises .
15:30 to the end is the most beautiful thing I have ever heard in my life. What a goddess Welitsch was..
Thanks for watching, dear. Yes, she is a phenomenon!
The greatest Salome performance in the history of recordings! Even if only an excerpt. The perfect incarnation of Strauss' conception of a sex-crazed teenage girl. Welitsch is young enough to really sound like that. Strauss' vocal type for the role is really a coloratura soprano, with the unique combination of a soaring easy top, and a strong and extensive low range. But with great point, focus, and penetrating power. Strauss himself picked Welitsch out as fitting his conception of the character. Here her voice has greater youth, tensile strength and freshness than her later 1949 Met performance - in which nevertheless she nevertheless preserved a rather youthful sound in the voice. This 1944 aircheck in Vienna is perfection.
And the palpable intensity of this performance was perhaps further sparked by the Russian Army being practically at the city gates of Vienna at that point.
How can one classify a voice like Welitsch’? How about HELDEN SOUBRETTE?
Hahaha
Helden soubrette
Fantastic comment
brilliant comment !!!!
jugendlisch dramatisch
Spot on haha!
A million times 👍👍👍! What opera could and should be: drama that gives you goosebumps. (Kind of like Callas’ Medea as well.)
Ah! Last but not least... The music from Strauss is just fantastic! He got really engaged into this opera from the very beginning! RS is one of my favorite composers!
La plus grande avec Beherens. tout y est : la voix, la couleur, l'interprétation. Sublime. Quand on l'entend ça parait "presque" simple à chanter.
Exactly that's the mastery!
The 1953 film The Man Between, starring James Mason, has this scene at the end of the movie. It's supposed to be set in an opera house in East Berlin.
Excellent by all means! What a soprano Madam Welitsch! Great idea Wolvi, to share with us (me!) these passionate arias... Cheers, Eddy.
Did you reach the final? Glad for you, Eddy, thank you!
Not yet the final... I am at about half! Enjoying it!
Excellent choice of photos! Love it!
Crazed. Perverse. Perfect.
I just read the plot of the Opera... I think I knew it but it was interesting to refresh my memories.. Her german singing sounds beautiful.. She was a great soprano!! What a story eh? (^_-) Cheers and Good Night Wolvi! Thanks for this memorable moment...
Good night, Eddy, sweet dreams without nightmares (after that) :))
Sounds like the ideal Salome with her youthful timbre.
Beautiful music!
Brutal story but beautiful music indeed, thanks & welcome!
How prescient of Strauss to compose this opera before the perfect singer was even born!
Smart Strauss :)
Thanks Wolverine for introd. L W. I have watched this opera in our national theater last year. Any how, I'd say hard to accept the story of Salome. :)
Absolutely! The ancients have been great intrigue-makers, very sinful and insidious :)
Salome is a Biblical character... You may not accept the Bible, but it does exist with all its characters (hundreds of them whom you may like or dislike as I do).
@@JoseAntonio-dt6zt
L'épisode de Salomé en rapport avec Saint-Jean Baptiste est conté dans trois des Évangiles, nottament dans celui de Saint Marc 5.40, étant le plus explicite, mais aussi d'un façon plus succincte dans Saint Mathieu 14, 3-12 et aussi chez Saint Luc, 3, 19-20. Or la chronique biblique en donne une référence bien différente à celle qui a servi d'intrigue au livret de Hugo von Hoffmannsthal à partir duquel Richard Strauß écrivit la musique. La narration biblique ne dévoile qu'une référence bien plus paisible de l'histoire dont le sujet du supposé l'amour-passion de Salomé envers le Prophète, cousin germain ou au deuxième degré de Jésus, est absent. Le roi Hérode avait épousé Hérodiade, veuve de son défunt frère Philippe. Donc ce fait étant considéré comme tenant du péché d'après la loi juive, le Baptiste rappelait cette situation à Hérode et surtout à son épouse Hérodiade, qui était furieuse avec Saint Jean-Baptiste. Hérodiade voulait tout simplement assassiner le Baptiste pour en finir d'une bonne fois avec la question. Mais elle ne pouvait pas le faire, parce que son époux le roi Hérode Antipas respectait Saint Jean, le sachant juste et saint. Lorsqu'il écoutait le Prophète il restait perplexe, mais quand même il l'écoutait avec plaisir. Or un beau jour l'occasion s'est présentée. Hérode fêtait son anniversaire et offrit un banquet à ses dignitaires, officiers et notables galiléens. C'est alors que Salomé, fille d'Hérodiade, s'est mise à danser et sa danse plût tellement à Hérode et à ses convives, que le roi dit à sa nièce : "Demande-moi ce que tu veux et je te le donnerai" Donc Salomé entra en conciliabule avec sa mère Hérodiade l'interrogeant sur ce qu'elle devait demander. Or Hérodiade profita de la situation pour aboutir à son dessin. Elle pria Salomé de demander la tête du Baptiste. Le roi Hérode s'attrista mais quand même dût accomplir sa promesse devant ses convives. La requête fût donc accomplie. Mais ce qui est à la base de cette interprétation de l'épisode biblique est la pièce Salomé écrite en français par Oscar Wilde (1856-1900) au cours de son séjour en France. Cette question de l'amour passionné et obsédant de la princesse juive envers le Baptiste a été établie par Wilde dans sa pièce de théâtre. Donc cette histoire trouble ne pouvait que séduire Hoffmannsthal, lui servant d'inspiration pour écrire le livret de l'opéra de Strauß. Lorsqu'on écoute les merveilleux sons de la voix de Ljuba Wellitsch et la rare beauté des accords de l'orchestre dessinant leur mélodie d'apothéose finale on ne peut que songer à l'énorme valeur d'une création artistique supérieure.
Ich verneige mich.....DAS ist das Größte, das es gibt !!!!
secondo me, la più grande Salome, in assoluto!!!!
Glad to hear you think so, thanks!
The APOTHEOSIS of Decadence. "They say that love has a bitter taste.........."
Agree! You're welcome!
Extraordinary recording. It is interesting that Studer's top extension is uncannily like Welitsch's in this scene. The difference between the two is that Studer creates more dynamic variety. In any case, I have uploaded Studer's, for reference.
Oh, thanks, will check it out!
@@wolverine3566 Hi. Today I reuploaded the Studer, if you want to hear it.
BOTH WELITSCH and CEBOTARI and NO ONE FOLLOWED WHO CAN MATCH THEM.
Inge Borkh...
Which Theatre is shown at 06:00 and 07:17? Look beautiful and perhaps familiar! Nice editing Wolvi... clean and memorable images! Thanks again... Eddy.
Perhaps Vienna, I've selected pictures of Sofia, there and Metropolitan, NY
What's the painting at 14:10?
Salomé by Lucien Levy-Dhurmer (c.1865-c.1953) @ www.artrenewal.org/artworks/salome/lucien-levy-dhurmer/54142
Cebotari : voice has the perverse sound.
Such is the role ;)
A beautiful and vibrant voice, but I think she pushed too hard and this shortened her career.
Maybe a short career, though almost 20 years, but extremely brilliant ... Burnt, to be shining!
a comparatively short career, but an everlasting impact on generations of opera lovers.
Certainly not recorded in 1944 by the "austrian" radio. Maybe by the Reichsenders Wien, active till mid 1945, the official broadcast service of the Grossdeutsches Reich of which the former "Austria" was a part
I can agree with you, actually there was some "Reich..." in the source, maybe exactly what you suppose. I beg your pardon. :)
wolverine3566
Yes, it's a nazi recording.
But it's great singing, astonishing, sublime in fact.
Welitsch have everything, a great voice and the power of expression.She impersonates perfectly the young and perverse Salome. From the begening to the end it's perfect.
Thanks.
Peut-être existait-il à l'époque un service appelé "Ostmarkisches Rundfunk" ou quelque chose de semblable. Je tiens á vous rappeller que la brave Autriche Impériale d'antan avait été annexée comme une simple province allemande à partir du désarroi d'un plébiscite plus feint que réel, et le nom du pays a été changé. Ce n'était plus l'Autriche mais l'Ostmark. De même Vienne la bien-aimée cessa d'être la capitale de l'Ostmark, même que cela semble impossible. La nouvelle capitale de l'Ostmark fût la ville de Graz, dans les Alpes.
Ella es Salomé
Chi dirige?
As far as I remember record was made in 1944 for the Austrian radio and conducted by Richard Strauss himself.
@@wolverine3566 Thanks!!!!
@@wolverine3566 I thought Lovro von Matacic. Or am I thinking of a different recording from 1944?
@@hrvoje14 I don't know exactly, my friend. I've got this record digitally from a German friend and decided to share it, because didn't find any other such on TH-cam. Furthermore, they find coincidence in only 70 secs with someone else registered record. I found the record with Lovro von Matacic, it is shorter.
@@wolverine3566 I think the performance under the composer himself was the proper/full opera production. This recording is the final scene as adapted for solo soprano concert performance (the 2 overlapping segments with Herod are cut), which became quite routine/normal practice quite early on since the opera’s premiere. I read somewhere about the 1944 concert performance under Matacic, but idk, maybe there were others that were preserved as well?