| Salome | |||||
| Deutsche Grammophon / Unitel GMBH & Co. (1974) | |||||
| Drama, Music, Opera | |||||
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In Collection
#2174 |
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9*
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| Teresa Stratas | Salomé | |
| Hans Beirer | Herod | |
| Astrid Varnay | Herodias | |
| Bernd Weikl | Jokanaan | |
| Wieslaw Ochman | Narraboth | |
| Hanna Schwarz | Page | |
| Reinhold Möser | Soldiers | |
| Wolfgang Probst | Soldiers | |
| Heinz Klaus Ecker | Nazarenes | |
| Norbert Heidgen | Nazarenes | |
| Nkolaus Hillebrand | Cappadocian | |
| Friedrich Lenz | Jews | |
| Ewald Aichberger | Jews | |
| Kurt Equiluz | Jews | |
| Karl Terkal | Jews | |
| Alois Pernerstorfer | Jews |
| Director |
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| Writer/Composer |
Oscar Wilde
Hedwig Lachmann |
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| Cinematography |
Wolfgang Treu
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| Music | Richard Strauss
Vienna Philharmonic |
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| Conductor | Karl Böhm
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Salome is Oscar Wilde’s twist on the biblical story of Herod, Herodias, and Salome. The story tells of a lovely young girl Salome, her step-father Herod’s obsession with her, and Salome’s infatuation with the prophet John the Baptist (Jokanaan). This hypersexualized story and grim-fated heroine have outraged and intrigued audiences for the last century. Salome’s infamous “dance of the seven veils,” a seductive dance for her step-father, is one of the opera’s most famous musical moments, even though it has angered probably just about as many people as it has pleased. |
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