Inge Borkh. Final de Salomé. Met, 1958.

Описание: Desde el monólogo "Es ist kein Laut zu vernehmen" hasta el final de la ópera.

Strauss: Salomé.
Salomé: Inge Borkh.
Herodes: Ramón Vinay.
Herodías: Blanche Thebom.
Director musical: Dimitri Mitropoulos.
Nueva York, 8 de febrero de 1958.

Fotografía: Salomé en Berna (1942): László Szemere, Marko Rothmüller, Richard Strauss e Inge Borkh.

Comentarios de Paul Jackson acerca de este broadcast ("Sign-off for the old Met", pp. 119-20):

"Borkh might have enjoyed longer Metropolitan service had not management shortly settled upon Rysanek and Nilsson as pillars of its German soprano wing. Though more than a hint of instability in the lower half of her voice mars Salome's frenetic utterance, the soprano's Judean princess is a worthy to successor to Welitch's flamboyant portrayal. The latter's virginal timbre and ease of delivery conveyed the impression of youth, while Borkh plays no pouting adolescent but rather a voluptuous woman stalking her prey. Yet she too has a lode of silver in her upper octave; the vein is not so uniform or constant as was Welitch's remembered shaft of tone -a phrase or two at the very end of the final peroration turns to steel. One feels just a bit let down. Earlier in the great scene, however, she offers some splendid vocalism, the quietly spun phrases often evoking that erotic chill which is the esscence of the role. Hers is a full portrait. She gabbles the prolix text with the aplomb which only long experience grants. A fine vocal actress, Borkh makes one see Salome, breathless and eager, unable to control her desire, taunting the prophet, haunting the cistern where he lives, incensing Herod, relishing the head on its silver platter. In a way, Welitch's magnificent vocalism could seem almost too easy -rather like a petulant child consoling herself by licking a particulary flavorful lollipop. Borkh rejected playing Salome as a «niedlich child», a pretty plaything; the propulsion, the sense of struggle in her effort feeds our involvement".