The scandal and furore that greeted early performances of Richard Strauss’s Salome – his third opera and first major success in the genre – are well documented and require no lengthy retelling here. Inspired by Oscar Wilde’s controversial 1891 play, Salome stunned audiences at the turn of the 20th century with its provocative subject matter and unflinching musical intensity. Today, the opera has become a cornerstone of the modern repertoire, regularly mounted by companies worldwide and embraced for its psychological complexity and unabashed sensuality.

Over the decades, Salome has enjoyed a rich discography, with definitive recordings conducted by the likes of Georg Solti (1961), Herbert von Karajan (1978), and Giuseppe Sinopoli (1990). These landmark interpretations have long shaped our appreciation of the opera’s central roles and orchestral language. With the release of this new Chandos recording, conducted by Edward Gardner and featuring the Bergen Philharmonic Orchestra, listeners are offered a fresh and compelling perspective – one that I believe stands confidently alongside its illustrious predecessors.

At the heart of the opera lies the title role: a vocal Everest requiring not only a soprano of exceptional range and stamina but also a consummate singing actress capable of navigating Salome’s complex emotional trajectory from teenage petulance to murderous obsession. Swedish soprano Malin Byström who has essayed the role of the ‘Prinzessin von Judäa’ with considerable acclaim across Europe rises to the challenge with astonishing accomplishment. In the opera’s opening scene, her voice gleams with a silvery lightness, suggesting the capriciousness of a spoiled adolescent. But as the drama intensifies – particularly in her confrontations with Jochanaan – Byström unleashes a commanding vocal power, revealing a darker, more dangerous side of the character. Her performance in the final scene, supported by Gardner’s taut, finely calibrated accompaniment, is a tour de force of vocal and dramatic intensity – spine-chilling in its conviction and eerily intimate in its emotional depth.

The supporting cast is uniformly excellent. Gerhard Siegel brings a seasoned authority to the role of Herod, his clear diction and vivid characterization capturing both the grotesqueness and vulnerability of the Tetrarch. Johan Reuter’s Jochanaan is commanding and dignified, imbued with an appropriate gravitas though vocally a little dry, while Norwegian tenor Bror Magnus Todenes lends Narraboth a lyrical warmth and expressive phrasing that borders on the Italianate, adding poignancy to the character’s doomed infatuation. Katarina Dalayman, as Herodias, offers a vocally secure and dramatically persuasive portrayal, while the smaller roles are ably filled by a strong supporting ensemble.

What truly distinguishes this recording, however, is Edward Gardner’s masterful handling of Strauss’s complex, kaleidoscopic score. As Chief Conductor of the Bergen Philharmonic Orchestra at the time of this performance Gardner shapes the music with precision, imagination, and a palpable sense of drama. His pacing is alert and purposeful, never rushed, yet always attentive to the opera’s volatile shifts in mood and texture. The orchestral playing is electric, from the sultry woodwind solos to the surging brass climaxes that underpin Salome’s descent into madness. The sound world Gardner elicits is both lush and meticulously detailed.

The recording, made live at Edinburgh’s Usher Hall during the 2022 Edinburgh International Festival, benefits from the experienced hand of engineer Philip Hobbs, whose work with Linn Records will be familiar to regular visitors to HRAudio.net. Captured in 24-bit/192kHz resolution on this hybrid 5.0 SACD, the sound is immersive and spacious, preserving the dynamism of a live performance while allowing intricate orchestral details to shine. That said, I found the recording does require a considerable increase in volume to reach its full sonic potential though this is not a huge issue.

Presentation is in line with Chandos’s high production standards. The two-disc set includes a comprehensive booklet featuring the full libretto in both German and English, along with a thoughtful essay by Gavin Plumley that contextualize the opera and its literary origins.

This recording certainly captures the visceral thrill of a live performance and as such earns an enthusiastic recommendation.

Copyright © 2025 Graham Williams and HRAudio.net

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