Watch now: Salzburg’s sensational new Salome

We gave you early warning that a star is born.

Now here’s the video.

Asmik Grigorian.

Remember the name.

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  • She sang Chrysothemis in Holland a couple of months ago. Don’t know why she didn’t sing Elektra. The girl has the acting and singing qualities of the great Nilsson. That’s just excellent!

  • You ain’t kidding! And a superb actress, too.

    Hope someone can link to more video of this production. Thx.

  • She is very good – but the staging is, of course, the usual ridiculousness, as if the original is not distasteful enough.

  • Pretty good, though was it an official Salzburger Festspiele video? They can do wonders with voices. Their Countess from a couple of years ago or so sounded superb on the official video of Dove Sono, but utterly appalling in another role in the same piece just a few months later in a production in which I was involved. I hope this girl Asmik is the real deal.

  • The production is indeed superb!
    It will be broadcasted on 3sat on Saturday prime time at 20:15 CEST
    You can watch the catch up on ORF.at or on myfidelio.at in the non German speaking countries you can stream the production on medici.tv
    In Japan the production will be shown on Classica Japan this October.

  • Don’t get your hopes up for the Dot7V, you dirty old men out there ! In fact a lot of it is with an empty stage.

    • Some soprano should snag DOT7V for a license plate. The staging looks like a staging of the Jeffrey Dahmer story. The music stands on its own for gross-out. I did see the TCO semi-staged production. Suggestion is better than graphic for this opera.

  • How lovely to see her doing so well! I played for her debut at Wigmore Hall, over 10 years ago, and it was a remarkable voice even then when she was in her early 20s.

  • Salome and Johannaan are excellently sung – the remaining voices do not impress . Herodes and Herodias are totally miscast and without characterization, this also vocally. Cannot understand why most reviews of this production are so excellent. Welser Möst’s tempi could also be questionable, especially why they are kept so slow and boring in the first half. The staging, that is an affair à part, but today, we opera-lovers have to cope more and more with far-fetched, mostly out-of-taste-nonsense, such as, incidentally, the staging of this year‘s Salzburg’s two remaining productions of “Zauberflöte” and “Lohengrin”.

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