{"product_id":"reiner-r-strauss-salome-elektra-met-1952-paco231","title":"REINER R. Strauss: Salome \u0026 Elektra (Met, 1952) - PACO231","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Salome\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Elektra\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 12:58\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLjuba Welitsch\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Salome\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-end=\"189\" data-start=\"186\"\u003e\u003cspan\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Hotter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Jochanaan\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-end=\"215\" data-start=\"212\"\u003e\u003cspan\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSet Svanholm\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Herodes\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAstrid Varnay\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Elektra\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-end=\"318\" data-start=\"315\"\u003e\u003cspan\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElisabeth Höngen\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Clytemnestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-end=\"352\" data-start=\"349\"\u003e\u003cspan\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul Schöffler\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e – Orest\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMetropolitan Opera Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Reiner\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f(I didn’t dare listen to them in succession)578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese two opera performances are a serious candidate for my year-end Want List. They have been revered by collectors since they were released on LP by the Metropolitan Opera in 1981 (at high fundraising prices) and have circulated on other labels over the years. I compared Pristine’s restoration with the Met’s own, which is the best of the earlier ones, and producer Andrew Rose has made a significant improvement. His XR Ambient Stereo process adds an extra degree of space to the sound. There have been a few other Pristine releases where I found that the process was applied too heavily, but here it is just right. Clarity and presence are not diminished, and the singers and orchestra sound as good as you could expect from 1952 AM radio broadcasts.\u003c\/p\u003e\u003cp\u003eAs for the performances, it is hard to know where to start. The singing ranges mostly from good to great, but I think the core of the success is Fritz Reiner’s conducting. In both Salome and Elektra a conductor typically emphasizes either the score’s lyricism or its madness. Reiner finds a way to bring both elements forward while retaining musical and dramatic unity. After the tension in the first half of the Recognition Scene in Elektra , after Elektra cries out the name “Orest,” the music turns warm and beautiful, and the Met’s orchestra caresses it with tender flexibility.\u003c\/p\u003e\u003cp\u003eSimilarly in the chaos just preceding Salome’s Dance of the Seven Veils, the lunacy of the situation is characterized by playing and singing of frenetic and incisive power. In the dance itself, the sickness underneath the sensuality never fully disappears, but neither does the sensuality get swamped. Throughout both operas, Reiner’s ability to ratchet tension to an almost unbearable degree makes the performances unforgettable. While there is evidence from many other Met broadcasts from the 1950s that the company’s orchestra was quite variable, here the players respond to Reiner as if mesmerized.\u003c\/p\u003e\u003cp\u003eThe word “legendary” is overused, but it applies to Ljuba Welitsch’s celebrated Salome from this period. Welitsch makes every word meaningful, and encompasses every shade of Salome’s girlishness, volatility, and emotional numbness. As she sings to Jokanaan’s head, the variety of inflection and color she employs demonstrates a rare mastery of dramatic singing. A 1949 Met performance released by Immortal Performances finds her in better voice. She was only 38 in the 1952 broadcast, but her vocal deterioration by the age of 40 was a great loss to the opera world, and signs of it are already present here. She has intonation issues (usually a touch sharp), and her high notes don’t soar the way they did just three years earlier.\u003c\/p\u003e\u003cp\u003ePristine was wise, nonetheless, to choose this Salome over the 1949. That performance represented Reiner’s debut, whereas by 1952 he and the Met orchestra had settled in with each other. The recorded sound is also superior to the 1949.\u003c\/p\u003e\u003cp\u003eHans Hotter’s Jokanaan is a monumental rendition, almost suffocating in its religious fervor. Set Svanholm brings a major voice to the role of Herod. Elisabeth Höngen may overdo the freneticism of Herodias, as she does with Klytämnestra in Elektra , but she is powerful and appropriately crazed in both roles.\u003c\/p\u003e\u003cp\u003eElektra was one of Astrid Varnay’s signature roles, and she was favored in it by conductors like Karajan, Mitropoulos, and Reiner. While she may not soar through the role’s demands in the upper register the way Birgit Nilsson did, Varnay presents the character’s stature more fully than any but a few others ever have. Elektra’s disgust at her mother, her attempt at sweetness with her sister as she tries to tempt her to join her pursuit of vengeance, her fury at the world in general but her tenderness toward her brother Orest, all of these are expressed powerfully. Like Welitsch, Varnay is not merely singing an operatic role here; she is completely inhabiting a character.\u003c\/p\u003e\u003cp\u003eWalburga Wegner’s Chrysothemis is one of the few weak performances in this set. Her voice lacks tonal body, and she doesn’t make much of this rather fuzzily drawn character. Paul Schöffler is superb as Orestes, and the big Recognition Scene between him and Varnay is rightfully considered a highlight. As before, Svanholm brings a more important voice than we typically get for Aegisth, although more of his character is conveyed by Reiner’s emphasis of the music’s grotesqueness than by vocal shading on the tenor’s part.\u003c\/p\u003e\u003cp\u003eWhile Pristine couldn’t get rid of all the compression and congestion in the original broadcasts, they have been minimized considerably. Strauss’s sumptuous orchestral writing is heard clearly enough to make its effect, and to make clear just how magnificent Reiner’s conducting is. No doubt collectors will want great modern-sounding recordings of both operas—Nilsson and Solti are the most standard recommendation—but it is hard to imagine anyone for whom Salome and Elektra are important not wanting to add this release to their collection. I was emotionally drained after hearing each opera separately (I didn’t dare listen to them in succession).\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eFanfare\u003c\/i\u003e, July\/August 2026\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO231.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eFritz Reiner at the Metropolitan Opera: Richard Strauss \u003ci\u003eSalome\u003c\/i\u003e and \u003ci\u003eElektra\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003eWhen Fritz Reiner conducted Richard Strauss’s \u003ci\u003eSalome\u003c\/i\u003e and \u003ci\u003eElektra\u003c\/i\u003e at the Metropolitan Opera in the early 1950s, he brought to these uncompromising scores a combination of iron discipline and dramatic urgency that few conductors of the period could equal. These two one-act operas, composed within four years of one another, represent Strauss at his most extreme: orchestral writing of relentless intensity, vocal lines pushed to the limits of human endurance, and a dramatic language stripped of sentimentality. Reiner’s approach to this music was unsparing, precise, and unflinchingly modern.\u003c\/p\u003e\n\n\u003cp\u003eThe performances preserved here originate from Metropolitan Opera broadcasts given in 1952, later issued on vinyl in 1981. Although these recordings have long been valued by collectors, they deserve to be heard not merely as historical documents, but as major interpretative statements. Reiner’s command of large orchestral forces, allied to his absolute control of tempo and rhythm, brings a powerful sense of inevitability to both works. Nothing is allowed to sprawl or linger. Each scene unfolds with a taut dramatic logic that keeps the listener constantly aware of the music’s forward momentum.\u003c\/p\u003e\n\n\u003cp\u003e\u003ci\u003eSalome\u003c\/i\u003e, first performed in 1905, remains one of the most shocking operas of its era. Its relatively brief duration conceals a densely compressed dramatic arc in which desire, obsession and brutality collide with terrifying speed. Under Reiner’s direction, the Metropolitan Opera Orchestra plays with exceptional clarity and bite. Tempi are firm, textures sharply etched, and climaxes precisely judged. There is no attempt to soften the score’s violence or eroticism. Instead, Strauss’s orchestration is presented with a hard, gleaming edge that heightens the opera’s sense of moral and psychological danger.\u003c\/p\u003e\n\n\u003cp\u003eAt the centre of the performance stands \u003cb\u003eLjuba Welitsch\u003c\/b\u003e, whose Salome had already become one of the defining portrayals in the Metropolitan Opera’s history. Her performance combines vocal brilliance with an almost reckless dramatic immediacy. Welitsch captures both the character’s volatile youth and her chilling emotional detachment, moving effortlessly between sensuous lyricism and savage declamation. Reiner supports her without compromise, never cushioning the voice, and in doing so intensifies the sense of inexorable momentum that drives the opera towards its catastrophic final scene.\u003c\/p\u003e\n\n\u003cp\u003eIf \u003ci\u003eSalome\u003c\/i\u003e presents obsession as erotic fixation, \u003ci\u003eElektra\u003c\/i\u003e pushes psychological extremity still further. Strauss’s 1909 score abandons almost all traces of lyrical consolation, replacing them with a dense, searing orchestral fabric and vocal writing of unprecedented intensity. Reiner’s Metropolitan Opera performance is notable for its unrelenting drive and structural focus. The music advances with grim inevitability, each episode locked into place with absolute rhythmic control, leaving little room for emotional release.\u003c\/p\u003e\n\n\u003cp\u003eIn the title role, \u003cb\u003eAstrid Varnay\u003c\/b\u003e delivers a portrayal of overwhelming dramatic force. Her Elektra is not merely a figure of hysteria, but a character consumed by purpose, driven by memory and vengeance rather than emotion alone. Varnay’s vocal authority and concentration are matched by Reiner’s uncompromising direction, which refuses expressive indulgence in favour of clarity and momentum. The result is a performance of almost frightening intensity, culminating in a final collapse that feels not cathartic, but brutally inevitable.\u003c\/p\u003e\n\n\u003cp\u003eWhat unites both operas in these performances is Reiner’s refusal to sentimentalise Strauss. Where some interpretations seek to cloak this music in warmth or rhetorical breadth, Reiner insists on discipline, precision and dramatic coherence. The Metropolitan Opera Orchestra responds with playing of extraordinary focus, projecting Strauss’s massive orchestral forces with power but without excess.\u003c\/p\u003e\n\n\u003cp\u003eHeard today, these performances reveal Strauss stripped of luxury and theatrical varnish. In Reiner’s hands, \u003ci\u003eSalome\u003c\/i\u003e and \u003ci\u003eElektra\u003c\/i\u003e emerge as works of stark power and classical severity: unsparing, concentrated, and unforgettable. They stand as a testament not only to the conductor’s formidable authority, but to a moment in the Metropolitan Opera’s history when these radical works were performed with a directness and intensity that still feel startlingly modern.\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eREINER\u003c\/b\u003e  R. Strauss: Salome \u0026amp; Elektra\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eRICHARD STRAUSS – \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 20px;\"\u003eSalome\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDISC 1 (62:44)\u003c\/strong\u003e\u003cbr\u003e\n1. Scene I: Wie schön ist die Prinzessin Salome heute Nacht! (5:01)\u003cbr\u003e\n2. Scene II: Ich will nicht bleiben (7:59)\u003cbr\u003e\n3. Scene III: Wo ist er, dessen Sündenbecher jetzt voll ist (8:44)\u003cbr\u003e\n4. Jochanaan! Ich bin verliebt in deinen Leib! (14:35)\u003cbr\u003e\n5. Scene IV: Wo ist Salome (6:51)\u003cbr\u003e\n6. Wahrhaftig, Herr, es wäre besser (7:22)\u003cbr\u003e\n7. Tanz für mich, Salome (3:50)\u003cbr\u003e\n8. Tanz der sieben Schleier (8:15)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDISC 2\u003c\/strong\u003e\u003cb\u003e (64:30)\u003c\/b\u003e\u003cbr\u003e1. Ah! Herrlich! Wundervoll, wundervoll! (11:49)\u003cbr\u003e2. Ah! Du wolltest mich nicht deinen Mund küssen lassen, Jochanaan! (11:55)\n\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eTotal duration: 1hr 31:49\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live at the Metropolitan Opera, New York, \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e19 January 1952\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eCast\u003c\/strong\u003e\u003cbr\u003e\nSalome – \u003cstrong\u003eLjuba Welitsch\u003c\/strong\u003e\u003cbr\u003e\nJochanaan – \u003cstrong\u003eHans Hotter\u003c\/strong\u003e\u003cbr\u003e\nHerodes – \u003cstrong\u003eSet Svanholm\u003c\/strong\u003e\u003cbr\u003e\nHerodias – \u003cstrong\u003eElisabeth Höngen\u003c\/strong\u003e\u003cbr\u003e\nNarraboth – \u003cstrong\u003eBrian Sullivan\u003c\/strong\u003e\u003cbr\u003e\nEin Page – \u003cstrong\u003eHertha Glaz\u003c\/strong\u003e\u003cbr\u003e\nErster Nazarener – \u003cstrong\u003eAlois Pernerstorfer\u003c\/strong\u003e\u003cbr\u003e\nZweiter Nazarener – \u003cstrong\u003eEmery Darcy\u003c\/strong\u003e\u003cbr\u003e\nErster Soldat – \u003cstrong\u003eNorman Scott\u003c\/strong\u003e\u003cbr\u003e\nZweiter Soldat – \u003cstrong\u003eLubomir Vichegonov\u003c\/strong\u003e\u003cbr\u003e\nEin Cappadocier – \u003cstrong\u003eOsie Hawkins\u003c\/strong\u003e\u003cbr\u003e\nEin Sklave – \u003cstrong\u003ePaula Lenchner-Schmidt\u003c\/strong\u003e\u003cbr\u003e\nErster Jude – \u003cstrong\u003eGábor Carelli\u003c\/strong\u003e\u003cbr\u003e\nZweiter Jude – \u003cstrong\u003eThomas Hayward\u003c\/strong\u003e\u003cbr\u003e\nDritter Jude – \u003cstrong\u003eAlessio De Paolis\u003c\/strong\u003e\u003cbr\u003e\nVierter Jude – \u003cstrong\u003ePaul Franke\u003c\/strong\u003e\u003cbr\u003e\nFünfter Jude – \u003cstrong\u003eGerhard Pechner\u003c\/strong\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eMetropolitan Opera Orchestra\u003c\/strong\u003e\u003cbr\u003e\nConducted by \u003cstrong\u003eFritz Reiner\u003c\/strong\u003e\u003c\/p\u003e\n\n\u0026lt;\u0026gt;\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eRICHARD STRAUSS – \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 20px;\"\u003eElektra\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDISC 2 (continued)\u003c\/strong\u003e\u003cbr\u003e3. Wo bleibt Elektra? (5:54)\u003cbr\u003e4. Allein! (9:17)\u003cbr\u003e5. Elektra! (1:01)\u003cbr\u003e6. Ich kann nicht sitzen (8:25)\u003cbr\u003e7. Was heulst du? (1:55)\u003cbr\u003e8. Was willst du? (10:42)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDISC 3 (65:44)\u003c\/strong\u003e\u003cbr\u003e\n1. Ich habe keine guten Nächte (11:11)\u003cbr\u003e\n2. Was bluten muß? (6:13)\u003cbr\u003e\n3. Orest! Orest ist tot! (0:32)\u003cbr\u003e\n4. Platz da! (3:00)\u003cbr\u003e\n5. Wie stark du bist! (2:20)\u003cbr\u003e\n6. Von jetzt an will ich deine Schwester sein (2:20)\u003cbr\u003e\n7. Nun denn, allein! (1:16)\u003cbr\u003e\n8. Was willst du, fremder Mensch? (8:27)\u003cbr\u003e\n9. Orest! (12:28)\u003cbr\u003e\n10. Seid ihr von Sinnen (3:40)\u003cbr\u003e\n11. He! Lichter! (4:52)\u003cbr\u003e\n12. Agamemnon hört dich! (3:24)\u003cbr\u003e\n13. Wir sind bei den Göttern (6:01)\n\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eTotal duration: 1hr 41:29\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live at the Metropolitan Opera, New York, \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e23 February 1952\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eCast\u003c\/strong\u003e\u003cbr\u003e\nElektra – \u003cstrong\u003eAstrid Varnay\u003c\/strong\u003e\u003cbr\u003e\nChrysothemis – \u003cstrong\u003eWalburga Wegner\u003c\/strong\u003e\u003cbr\u003e\nClytemnestra – \u003cstrong\u003eElisabeth Höngen\u003c\/strong\u003e\u003cbr\u003e\nAegisth – \u003cstrong\u003eSet Svanholm\u003c\/strong\u003e\u003cbr\u003e\nOrest – \u003cstrong\u003ePaul Schöffler\u003c\/strong\u003e\u003cbr\u003e\nEin alter Diener – \u003cstrong\u003eLubomir Vichegonov\u003c\/strong\u003e\u003cbr\u003e\nEin junger Diener – \u003cstrong\u003ePaul Franke\u003c\/strong\u003e\u003cbr\u003e\nDie Schleppträgerin – \u003cstrong\u003ePaula Lenchner-Schmidt\u003c\/strong\u003e\u003cbr\u003e\nDie Vertraute – \u003cstrong\u003eJean Madeira\u003c\/strong\u003e\u003cbr\u003e\nDer Pfleger des Orest – \u003cstrong\u003eAlois Pernerstorfer\u003c\/strong\u003e\u003cbr\u003e\nDie Aufseherin – \u003cstrong\u003eThelma Votipka\u003c\/strong\u003e\u003cbr\u003e\nErste Magd – \u003cstrong\u003eMartha Lipton\u003c\/strong\u003e\u003cbr\u003e\nZweite Magd – \u003cstrong\u003eHertha Glaz\u003c\/strong\u003e\u003cbr\u003e\nDritte Magd – \u003cstrong\u003eLucine Amara\u003c\/strong\u003e\u003cbr\u003e\nVierte Magd – \u003cstrong\u003eMildred Miller\u003c\/strong\u003e\u003cbr\u003e\nFünfte Magd – \u003cstrong\u003eGenevieve Warner\u003c\/strong\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eMetropolitan Opera Orchestra\u003c\/strong\u003e\u003cbr\u003e\nConducted by \u003cstrong\u003eFritz Reiner\u003c\/strong\u003e\u003c\/p\u003e\n\n\u0026lt;\u0026gt;\n\n\u003cp\u003eXR remastered by \u003cstrong\u003eAndrew Rose\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eTotal duration (complete set): 3hr 12:58\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO231.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO231.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":55010143797614,"sku":"zgk1789306831604","price":41.21,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010143830382,"sku":"rpu1789306831605","price":23.36,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010143863150,"sku":"ojx1789306831606","price":23.81,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/reiner-r-strauss-salome-elektra-met-1952---paco231_1.jpg?v=1789306838","url":"https:\/\/www.harborviewgoods.shop\/products\/reiner-r-strauss-salome-elektra-met-1952-paco231","provider":"My Store","version":"1.0","type":"link"}