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KS Nina Stemme - Sopran


Salome (Salome), Severence Hall/Carnegie Hall, Cleveland Orchestra, Mai 2012

«Playing a princess, soprano Nina Stemme is queen of Cleveland Orchestra's &quot;Salome&quot; </p> <p>Soprano Nina Stemme is the very powerful center of the Cleveland Orchestra's concert performance of Strauss's &quot;Salome.&quot; </p> <p>No staging? No problem. </p> <p>With powerhouse soprano Nina Stemme in the title role, the Cleveland Orchestra’s concert account of Strauss’s “Salome” requires no visual aids. So vivid is her portrayal of the spurned princess, actual sets, props and costumes would only be a hindrance. Now, following their initial performance Saturday night at Severance Hall, the orchestra and music director Franz Welser-Most can happily whisk the opera off to Carnegie Hall, confident in the white-knuckle thriller they have on their hands. </p> <p>Stemme’s performance must go down as one of the richest, most well-rounded depictions on record. Not just a voice, not just a character, her Salome was a whole, credible identity, a person with history and depth. It’s stunning, in fact, how much Stemme managed to convey from the acoustical disadvantage of a platform above and behind the orchestra. Where some artists are content with a one-dimensional sexpot or crazed lunatic, Stemme somehow introduced fragility, deviousness and deep-seated pain. This was a woman who’s been wronged, repeatedly. And what a voice. Potent across a vast spectrum, Stemme’s soprano was ferocious at its lowest end and shattering at the top. Herod couldn’t take his eyes off her. The rest of us couldn’t turn away our ears. </p> <p>The fully-staged Mozart productions of the last three seasons were a treat, but this “Salome” was a feast in its own right, a reminder of how convincing concert performances can be. If this is how the orchestra goes about not staging opera, then it can keep on not staging.»

Zachary Lewis, The Plain Dealer, 21.05.2012

«The cast could not have been better. Ms. Stemme, probably the most exciting exponent of the Wagner/Strauss wing of the dramatic soprano repertory right now, was a vocally blazing yet eerily alluring Salome. A little stridency in the sound goes with this vocal territory. But the bright sheen and unforced power of her singing were extraordinary. There was no trouble hearing her, of course. Still, often the effect was of a voice breaking through, rather than being lifted by, the orchestra.»

ANTHONY TOMMASINI, New York Times, 25.05.2012

«Nina Stemme triumphs in 'Salome' at Carnegie </p> <p>NEW YORK — Someone forgot to tell Nina Stemme that the opera season here is supposed to be over. Thank goodness! </p> <p>The Swedish soprano brought a cheering capacity audience at Carnegie Hall to its feet Thursday night with a virtuoso performance in the title role of Richard Strauss' &quot;Salome,&quot; supported by a strong cast and ably accompanied by the Cleveland Orchestra and conductor Franz Welser-Moest. Once again, Stemme showed she is the real deal: a true dramatic soprano. With full, rounded tones, she repeatedly poured out blazing high notes to cut through the tumultuous climaxes of Strauss' orchestration, then lightened her voice to a lovely, delicate filigree for the quieter moments. And though the performance was unstaged, Stemme used quick-changing facial expressions and nuanced phrasing to suggest the personality of the teenage Judean princess who demands the head of John the Baptist (Jochanaan) on a silver platter. She embodied the willfulness and wiliness of a spoiled brat, yet she also made Salome's hideously perverted sexual awakening seem almost pitiable. Stemme has been much too rare a presence on the New York scene, with only 11 performances at the Metropolitan Opera in 12 years, and nothing more announced until 2016-17. The current Met season ended earlier this month with Wagner's &quot;Ring&quot; cycle — and anyone who heard Stemme's Bruennhilde in San Francisco a year ago knows how much her presence might have added to those performances.»

CBS news, 25.05.2012