# Special Edition: Salome’s Final Scene: Cheryl Studer



## ALT (Mar 1, 2021)

Arguably (but inarguably to me), this may be the finest Salome on record. To be sure, the famous 1962 Birgit Nilsson recording is not chopped liver either, not least due to Solti's coaxing a splendid response from the orchestra, the tip-top shape of the orchestra's personnel at the time, and the engineering team's capturing of the distinct and luminous Vienna sound par excellence; as we know, a manner now sadly extinct. So, for orchestral performance alone, the hat tips in Solti's favor. For vocals and characterization, however, the hat tips in this direction. And yet, Sinopoli leads with such detail and tautness that the result is equally staggering in impact and chilling in beauty. More hats off, then. And not to be ignored, of the various Ljuba Welitsch versions available, I highly recommend this one from Vienna, recorded in 1944 (or 1945) in which she was at her finest. https://youtu.be/R9YkD5-lYZA

Meanwhile, we keep reading uninformed comments such as “… she [Studer] never sang [Salome] live and couldn’t have.” But that is categorically false because: 1. she sang the Schlußszene in Salzburg with Mo. Sinopoli and the Dresden, on 3 August 1991: https://archive.salzburgerfestspiele.... and, 2. she sang the role in a series of concert performances of the work with Riccardo Chailly in February of ‘97, in Zürich. Read about it (in Dutch): https://www.trouw.nl/nieuws/balans-tu...

Then there is this, published April 2022: http://www.musicweb-international.com... “In 1991 she [Studer] gave a concert performance of this very piece in Dresden Salzburg with Sinopoli that was just outrageous – Sinopoli pushed Studer with such power and force she ended up giving a vision of Salome that was more chilling and more decadent and terrifying than any I have heard; by the end of it her voice was all but shattered. Perhaps this is exactly the kind of cruelty that Strauss expected of his Salome – but which no soprano dares to give. It is certainly not the one that Jessye Norman dares to give here. As impressive as the voice is, her vocal cords do not sound that stretched – the performance could be considered just a little safe. Norman doesn’t fall into the Studer category in any sense, and nor give us what Strauss really intended. But what we do get is a performance of such power and virtuosity it delivers a real punch. In a sense this is not uncomplicated music; it is a straightforward narrative and Norman doesn’t make life difficult for herself. You’ll be swept away by it, but it isn’t blood-curdling, it isn’t decadent and nor is it chilling. One could imagine Studer entirely embracing the head of John the Baptist to kiss his lips; I think Norman probably recoiled at the prospect of doing so. Where Studer might almost spit her words out towards the latter half of this long monologue, Norman is more modest. Only one of these two great sopranos drips in the blood of her venom and poison.”


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## Mostart (3 mo ago)

In agreement. I am also of the opinion that this is about the finest Salome on record, bar none.


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## ALT (Mar 1, 2021)

To complement this post, we now also have Studer in a *LIVE* rendition of this scene.


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## Woodduck (Mar 17, 2014)

Is this the third or the fourth time Studer's _Salome_ finale has been hyped here this year, complete with that wild review that "drips in the blood of her venom and poison"? Will there be a fifth and a sixth outing in 2023?

The reviewer's idea of this opera is different from mine. Apparently he sees the character of Salome as a sort of nascent Elektra - half crazy, wild, ravenous, and scary. I think he's been taken in by Strauss's showmanship, and maybe influenced by the psychotic ravings of the later opera. One does tend to be taken aback momentarily by the sight of a head on a silver platter, but one can take this opera too seriously. Actually it's pretty campy, and even rather comical, with that exceedingly stiff and stuffy baptist - whose shallow, pseudo-heroic music doesn't sound the least bit spiritual - losing his useless head over finding himself the object of sexual desire for the first time in his unnatural life. Rather apt symbolism, I'd say! Salome isn't a rabid monster; she's a nymphet with aberrant sexual tastes, repugnant to most of us but obviously normal to her. Her music is more sexy than horrifying, and she should sound as if she's enjoying herself the whole time. I prefer a voice that isn't "all but shattered" by the end - the gorgeously youthful Welitsch, the joyously vibrant Maria Cebotari, and even the not-very-girlish but brilliantly soaring Nilsson.


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## The Conte (May 31, 2015)

Woodduck said:


> Is this the third or the fourth time Studer's _Salome_ finale has been hyped here this year, complete with that wild review that "drips in the blood of her venom and poison"? Will there be a fifth and a sixth outing in 2023?
> 
> The reviewer's idea of this opera is different from mine. Apparently he sees the character of Salome as a sort of nascent Elektra - half crazy, wild, ravenous, and scary. I think he's been taken in by Strauss's showmanship, and maybe influenced by the psychotic ravings of the later opera. One does tend to be taken aback momentarily by the sight of a head on a silver platter, but one can take this opera too seriously. Actually it's pretty campy, and even rather comical, with that exceedingly stiff and stuffy baptist - whose shallow, pseudo-heroic music doesn't sound the least bit spiritual - losing his useless head over finding himself the object of sexual desire for the first time in his unnatural life. Rather apt symbolism, I'd say! Salome isn't a rabid monster; she's a nymphet with aberrant sexual tastes, repugnant to most of us but obviously normal to her. Her music is more sexy than horrifying, and she should sound as if she's enjoying herself the whole time. I prefer a voice that isn't "all but shattered" by the end - the gorgeously youthful Welitsch, the joyously vibrant Maria Cebotari, and even the not-very-girlish but brilliantly soaring Nilsson.


You do realise that 'Baptist Church' has quite a different meaning in Europe, don't you?

And John the 'baptist' was another beast entirely. I think there's far more to this opera than, "'Ich will dein Mund kussen' as the actress said to the bishop!"

N.


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## Shaughnessy (Dec 31, 2020)

Woodduck said:


> *... she's a nymphet with aberrant sexual tastes, repugnant to most of us...*


I can only imagine just how much self-control it must have taken to resist adding - "unless your name happens to be Shaughnessy" -


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## ALT (Mar 1, 2021)

And let’s also not forget: “_Sie ist ein *Ungeheuer*, deine Tochter._” The anything-and-anyone-but-Studer posturing barely stands on its quicksand.


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## Woodduck (Mar 17, 2014)

ALT said:


> And let’s also not forget: “_Sie ist ein *Ungeheuer*, deine Tochter._” The anything-and-anyone-but-Studer posturing barely stands on its quicksand.


And Herod, as we know, is the ultimate opera critic. Why did I waste my youth reading Conrad L. Osborne?

"No One But Studer" is the most amusing show to be seen in this theater - it also promises to be the longest running - and with tickets being free, it's hard for one with a sense of humor not to drop in and "drip in the blood of her venom and poison" before moving on to more wholesome things. 

Obsessive hyperdulia cries out for balance. A true Libra, I keep the scales handy.


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## ALT (Mar 1, 2021)

Woodduck said:


> Is this the third or the fourth time Studer's _Salome_ finale has been hyped here this year, complete with that wild review that "drips in the blood of her venom and poison"? Will there be a fifth and a sixth outing in 2023?


To the best of my knowledge, first and second time this year. Mind you, not that we need to run any such instances by you for pre-approval. It is just too bad that the reviewer didn’t think Jessye Norman merited the “drips in the blood of her venom and poison” and all that. Because, you know, had he, it would have given you more matériel for blasting Studer apart; or anyone who chose to bring (sorry, “hype”) her up for discussion in what happens to be an opera discussion forum; she, as if it needed saying, being an opera singer, duh.


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## Woodduck (Mar 17, 2014)

*Special Edition: Salome’s Final Scene: Cheryl Studer 11/21/22

Two rare films featuring Cheryl Studer 12/26/22

An opinion destined to rankle Jessye Norman fanatics and Cheryl Studer haters alike 4/28/22*

_"Hype: n. extravagant or intensive publicity or promotion."_

Three Studer _Salome_ finales in 8 months, two different performances, all including the same wild-eyed review that doesn't even apply to the studio recording. It can cause double takes to see the same stuff posted over and over in such a brief period (or does it only seem brief when you're old?) It's like taking a walk around the block and passing the same person three times. "Wait a minute... Didn't I just see...?" 

But yes, hype is permitted. I'm sure there have been other examples of such closely reiterated promotion of a singer and role, although I can't recall one offhand. Or maybe there haven't. Anyway, looking forward to the next airing - April 1, maybe? - dripping with the blood of her venom and poison. At least I have the review memorized (sufficiently) and won't have to read it again.

(I know! Post it on Halloween. It'll be perfectly in the spirit, though not as scary as those little brats with their rubber masks and their hands out. To think that I was one of them...)


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## ALT (Mar 1, 2021)

Woodduck said:


> *Special Edition: Salome’s Final Scene: Cheryl Studer 11/21/22
> 
> Two rare films featuring Cheryl Studer 12/26/22
> 
> ...


What a way to start the new year. Woodduck, you are a handful and you continue spewing nonsense that conveniences you and your “arguments” but that has nothing to do with reality. To be sure this is neither publicity nor promotion but interest and enthusiasm. It is no different from what happens here ad nauseam with others such as Maria, Lizzie and even Jess. Moreover, the fact that someone uncovered and shared with us a LIVE rendition of Studer in the Salome Schlußszene is good enough and reason enough for opening it up. If you are bothered by it, that’s your problem to resolve without resorting to public mockery and abuse (of the singer, of yours truly, and of the critic who wrote the words that got you so agitated because they didn’t fit your narrative).


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## Woodduck (Mar 17, 2014)

ALT said:


> What a way to start the new year. Woodduck, you are a handful and you continue spewing nonsense that conveniences you and your “arguments” but that has nothing to do with reality. To be sure this is neither publicity nor promotion but interest and enthusiasm. It is no different from what happens here ad nauseam with others such as Maria, Lizzie and even Jess. Moreover, the fact that someone uncovered and shared with us a LIVE rendition of Studer in the Salome Schlußszene is good enough and reason enough for opening it up. If you are bothered by it, that’s your problem to resolve without resorting to public mockery and abuse (of the singer, of yours truly, and of the critic who wrote the words that got you so agitated because they didn’t fit your narrative).


Pot and kettle, sir. 

Jessye Norman _fanatics?_ Cheryl Studer _haters?_ Are there any of either about? No one has argued that Studer's Salome isn't good. I see no "Studer haters." Do you need them? Are you trying to create them? Who is "rankled" by that reviewer's opinion? Opinions are very much open to discussion and challenge, but almost demand it when repeated repeatedly. How many times can you listen to someone tell you that so-and-so is the greatest whatever and not either argue with them, tell them to stuff it, or stop inviting them to lunch? If you don't want this opinion debated, why start _*three separate threads*_ _*with identical content within eight months?*_ Who _does_ that? 

This is clearly a case of "if at first you don't succeed, try, try again until the world bows before the greatness of Cheryl Studer, dammit, and if it refuses to grovel it will be beaten to the ground 'dripping in the blood of...'" etc. etc. etc. 

You're clearly a man on a mission. Maybe a crusade. You have to expect resistance from nonbelievers. _Not_ "haters."


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## ALT (Mar 1, 2021)

Woodduck said:


> If you don't want this opinion debated, why start _*three separate threads*_ _*with identical content within eight months?*_ Who _does_ that?


Who said I didn’t want it debated? Debated, yes. Abused and mocked, no. As for “who does that”, have you failed to notice how identical content about someone like Callas gets recycled in about eight separate threads eight times a day? LOL. Let’s just drop this. Cuz we ain’t goin’ nowhere.


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## Woodduck (Mar 17, 2014)

ALT said:


> Who said I didn’t want it debated? Debated, yes. Abused and mocked, no. As for “who does that”, have you failed to notice how identical content about someone like Callas gets recycled in about eight separate threads eight times a day? LOL. Let’s just drop this. Cuz we ain’t goin’ nowhere.


Agreed.


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## Mostart (3 mo ago)

ALT said:


> To complement this post, we now also have Studer in a *LIVE* rendition of this scene.


I have been watching this discussion and maybe it is inadvisable of me to chime in but I want to relate my gratitude to ALT for sharing this rare and exciting performance. I just don’t understand why it should incite the opprobrium we have been reading here. It makes no sense. ALT, keep it up and never let anyone intimidate you into silence. All the best.


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## Woodduck (Mar 17, 2014)

Mostart said:


> I have been watching this discussion and maybe it is inadvisable of me to chime in but I want to relate my gratitude to ALT for sharing this rare and exciting performance. I just don’t understand why it should incite the opprobrium we have been reading here. It makes no sense. ALT, keep it up and never let anyone intimidate you into silence. All the best.


Please don't misrepresent what people say and do. Studer's performance has _never_ incited opprobrium (harsh criticism or censure). I have merely commented on the thrice-repeated publication of an extravagantly worded review, calling it "hype." I think it's a wild-eyed and rather funny review, and that giving it to us three times in 8 months is weird and does indeed amount to hype. ALT objects to my saying that, and thinks that a single person publishing multiple threads in a short time to say exactly the same thing is normal (I might remark that when moderators here see threads that duplicate each other they often consolidate them to keep the forum uncluttered and focus the conversation).

That's all there is to this "discussion." ALT asked that we drop it. I did so. Please follow suit.


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## ALT (Mar 1, 2021)

Mostart said:


> I have been watching this discussion and maybe it is inadvisable of me to chime in but I want to relate my gratitude to ALT for sharing this rare and exciting performance. I just don’t understand why it should incite the opprobrium we have been reading here. It makes no sense. ALT, keep it up and never let anyone intimidate you into silence. All the best.


I appreciate this.


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## ScottK (Dec 23, 2021)

I never heard Studer's Salome before and, like everything you put of hers on here, I just find her amazing. It's funny to me that she's debated as being right for Salome because long before I knew here singing, it was the picture on the Salome recording that had lodged in my memory. I always assumed it was one of her signature roles. Having heard her on the great cuts and videos you've posted I can see that Salomes music might seem a little intense for a voice as clear and focused as hers which I don't think of as presenting .....the bulk we expect of a more dramatic soprano. Nilsson is a lazer but simply the biggest lazer ever imagined. But Studer's sound and way always retains so much femininity even when strong!....... and ill advised though this may be, I do have to say that my journey with your Studer cuts began back with the Lehar contest about a year ago and my nascent interest in her singing was definitely helped by Woodduck speaking extremely highly of her.


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