Metropolitan Opera Archives

The title role in Richard Strauss, lurid opera, "Salome" must be sung by a soprano of unusual talent She roust possess a large, supple, yet cutting voice that has power to spare. In addition, she must be able to move about the stage with grace and seductive intensity.

Friday evening Leila Andersson, from Sweden, made her Metropolitan Opera debut, as well as her American debut, as Salome. The overall effect was far below what we have come to expect from a soprano in this role.

Miss Andersson is reputed to have sung more than fifty roles, including: Gilda in "Rigoletto," Fiordiligi in "Cosi fan Tutte," Violetta in "La Traviata" and Leonora in "Il Trovatore." These roles hardly sound like credentials for one who would attempt a Salome .. and in fact, they weren't.

There was little to salvage this performance. Miss Andersson's top notes were shrill and spread, due to forcing the naturally lyric sound. Her dance of the seven veils was too choreographed to be truly seductive and thereby missed its mark. In all, Miss Andersson should avoid such dramatic roles and remain in the lyric repertory, if she intends to continue singing at all.

As her mother, Herodias, Gwynn Cornell was barely audible, a similar problem for Miss Andersson, and was hardly portraying a woman, who could have brought such a hellcat into the world. Miss Cornell did little to convey the debauchery of her character. As a matter of fact, one could hardly conceive of Miss Cornell being anything but the Queen's mother. Detached took on a whole new meaning with Miss Cornell's performance.

Robert Nagy sang, rather shouted, the role of Herod making some of the ugliest tenor sounds heard in some time. Nagy has been known to shout his way through a role from Herod to the Messenger in "Aida." Nothing has changed. Except, as Herod the perversity of the character is heightened by Nagy's natural voice.

As Narraboth, Timothy Jenkins sang with power and beauty. He is truly one of the new shining lights in the German repertory. His huge hulk of a frame makes him perfect for the larger than life heldentenor roles in Wagner's operas. He is a talent to watch.

Comprimario, supporting artists, are rarely noticed. Their music rarely permits them to impress a listener. However, in the role of the First Soldier, bass, Richard Vernon demonstrated a full, resonant sound, with amenable stage presence. Vernon should be watched also, and perhaps, be given more important roles in the future.

Siegmund Nimsgern sang a routine Jochanaan that was replete with stock gestures ala 1950's. His voice is hard and without much beauty, but in this role it served the music well. His voice cut through the orchestra, but the sound was not always in focus.

The orchestra was conducted by Julius Rudel, who seemed to understand the style of Strauss and kept most of the triple fortes in balance with the voices on stage. Rudel conducted with quick tempi and preserved the tautness of the score, The tension of Rudel's baton, kept the stage action and singing from dragging an already mediocre performance to a halt.

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