January 10, 2018

Salome is Gramophone Editor’s Choice

It offers an unusually persuasive aural drama and a deeply musical account of the score – a compelling listen featuring a fine cast and expertly conducted. It’s a set that can be warmly recommended.

We are proud to share with you that our opera recording of Strauss – Salome performed by Andrés Orozco – Estrada, Peter Bronder, Emily Magee, Frankfurt Radio Symphony is Gramophone Editor’s Choice for January 2018! Read a passage of the review below.

And though Orozco-Estrada’s approach is leisurely by the clock, he offers no shortage of energy and shock and shudder. After holding back initially, he whips up a storm in the big interlude after Jokanaan’s curse, and he offers us a Dance that alternates febrile energy with languid, hipswinging seductiveness. The big orchestral outburst after Salome issues her demand for a final time is properly shattering. That moment is also demonstrative of the set’s other great asset: Emily Magee’s Salome spits out her words as part of a characterisation of the Judean princess that’s compellingly real and convincing. Listen, too, to the taut, intense monodrama she and Orozco-Estrada make of the minutes as she awaits the executioner’s strike. Magee’s is a voice that swells into phrases rather than attacks them, and is perhaps a touch more opaque in its colour than ideal, but she sounds fresh throughout and sings the big final scene compellingly – an especially impressive achievement given that this was recorded live.

Hugo Shirley

Read the full review on Gramophone – January 2018 issue