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The occasion was enhanced by the debut at the Metropolitan Opera of the celebrated Czech conductor, George Szell, who directed the work with power, precision, and all imaginable exactitude of expression. Last night's revival of ["Salome's"] lurid expressionismus was orchestrally and vocally superb. Miss Djanel, who sang the name part, sang admirably. But admirably! So did everyone else. The performance was a rich and grand one; and the major credit must go, of course, to Mr. Szell. The score was squeezed for every effect and yet the great line of it was kept intact and the sonorities remained within the domain of "legitimate" musical sounds. Mr. Szell did a virtuoso job on a difficult and complex work. He didn't force the singers or the brasses. He made all the music sound and sound well. So vigorous an hour and a half of musical experience is not to be met with every week.

Review 2:

Review of Oscar Thompson in the New York Sun:

The dominating figure of the performance was not really on stage, but in the pit. George Szell, who made his Metropolitan debut as the conductor of the Straussian ensemble, lifted it out of the routine to which we have been accustomed. The score glowed and pulsated in his hands. The orchestra, on which so much depends, rose to the opportunities. The stage principals were fused into a stirring musical whole.

Search by season: 1942-43

Search by title: La Serva Padrona, Salome,

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