In praise of Richard Strauss’s Salome: “The score is at once staggeringly original, more than a little trashy, and unsettling in its sexual and racial politics. When the clarinet slithers up a disjointed scale at the outset of the piece, the curtain effectively goes up on twentieth-century music.” (The New Yorker, 8/21/19)
In praise of Richard Strauss’s Salome
