{"product_id":"keilberth-krauss-r-strauss-salome-aus-italien-195153-paco111","title":"KEILBERTH, KRAUSS R Strauss: Salome, Aus Italien (1951\/53) - PACO111","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\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\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Aus Italien\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and studio recordings · 1951 \u0026amp; 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 19:29\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eInge Borkh\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Salome)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIrmgard Barth\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Herodias)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Hotter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Jokanaan)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMax Lorenz \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(Herod)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLorenz Fehenberger \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(Narraboth)\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBavarian State Opera Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoseph Keilberth\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eClemens Krauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDelightful through and through, bathed in Italian sunshine filtered through Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe premiere of Strauss’s opera took\nplace in Dresden in December 1905. By the time five months had passed\nthe opera had generated enough controversy that among the audience which\nattended the first Graz performance were Mahler, Puccini, and\nSchoenberg. Strauss may or may not have been being facetious when he\nsaid the opera contained no difficulties, describing it as “a scherzo\nwith a fatal conclusion” and claiming that “it should be played as if it\nwere by Mendelssohn.” I suspect that the anecdote that has him telling\nthe orchestra to play louder “because I can still hear the singers” is\napocryphal and much of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\norchestration, despite the huge orchestral forces, is quite delicate\nand refined. He originally wanted the title role performed by a dramatic\nsoprano despite the fact that few of them could convincingly pass as\nteenagers, much less actually perform the Dance of the Seven Veils. His\nchoice as the original Herod was Carl Burrian (Karel Burian), a\nHeldentenor who sang nearly all the big Wagnerian tenor roles at the\nMet. Eventually, Strauss decided that lighter-voiced sopranos could sing\nthe role after all, and among the eventual Salomes were Maria Cebotari,\nLisa Della Casa, and Anna Silja. He even composed a thinner\norchestration for use in smaller theaters, and recordings have made it\npossible for “character tenors” to play Herod, but the live broadcasts\nI’ve heard use Heldentenors: Set Svanholm (Reiner), Jon Vickers (Kempe),\nand Max Lorenz (Keilberth). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs you can see above, Keilberth’s\ndates from July 1951. Yes, it is monaural, but surprisingly vivid for an\nold radio broadcast. Joseph Keilberth, of whom I have never been a big\nadmirer, holds his own with such recorded colleagues as Karajan, Kempe,\nKrauss, Sinopoli, and Solti, helped to a considerable extent by the fact\nthat \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is a\npiece of musical machinery that is difficult to ruin—once set in motion\nby a competent conductor and given a good enough cast, it’s going to\nwork. Leading Keilberth’s cast is Inge Borkh, a celebrated Salome and\nElektra who certainly puts across, at least, the aural picture of Salome\nas an impulsive, obsessive teenager. Hans Hotter’s Lieder smarts avail\nhim little in so declamatory a role as Jokanaan—he’s good but really no\nbetter than Hans Braun (Krauss), Bryn Terfel (Sinopoli), Thomas Stewart\n(Kempe), José van Dam (Karajan) or Eberhard Wächter (Solti). The veteran\nHeldentenor Max Lorenz may not have been much of a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nby 1951, but he could certainly handle Herod as well as anyone else\nI’ve heard perform it. Kempe’s live performance from the Orange (France)\nFestival has the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecachet \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\nJon Vickers in a role he seldom (if ever again) undertook, but the\ndirector had him spending a lot of time toward the rear of the stage so\nthis in-house recording minimizes his impact on the performance. Leonie\nRysanek is a disappointing Salome who seems more concerned about being\ndrowned out than creating a character. She’s the Herodias on Sinopoli’s\nrecording, which stars Cheryl Studer, who takes full advantage of the\nfact that she doesn’t have to project her voice into a large theater.\nBryn Terfel’s cistern seems a bit far away but you can always hear him.\nHorst Hiestermann is a more-than-adequate Herod. I used to think that\nHerbert von Karajan and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwas a perfect match of conductor and opera and his recording did not\ndisappoint me, nor did Hildegard Behrens’s performance of the title\nrole. The rest of the cast is fine, too. Solti has the benefit of Birgit\nNilsson’s terrific Salome, both dramatically as well as vocally.\nGerhard Stolze, who might have been unsatisfactory in person, is able to\ncreate a nice, slimy Herod on the recording and Eberhard Wächter’s\nbang-it-out style works for Jokanaan. If you don’t mind a single\nchannel, Clemens Krauss gave us a fine recording 60 years ago that still\nholds up well. Christel Goltz, Hans Braun, and Julius Patzak head the\nstrong cast of Viennese veterans. I have hardly mentioned Herodias and\nNarraboth because these characters, while they contribute to the action,\nare not exactly make-or-break roles. Given the excellent two-channel\nrecordings by Karajan, Sinopoli, and Solti, I can see little\njustification for recommending Keilberth’s 1951 broadcast, despite its\nobvious virtues. If it matters, Clemens Krauss’s 1954 studio recording\nof \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nserves as a bonus filler, but in Pristine’s transfer the strings seem a\nbit too bright and disembodied from the orchestra. If I must listen to\nthis overlong, early Strauss tone poem in a mono recording, I prefer\nDecca’s CD transfer of the Krauss (they were presumably able to work\nfrom the master tape). The most interesting thing about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e for me is that Strauss, under the illusion that it was a folk song, made several strong allusions to Luigi Denza’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFuniculi, funicula\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in the final movement only to discover, to his embarrassment, that it was under copyright.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis performance has been available\nbefore, but here appears under the Pristine label in a remastering by\nAndrew Rose. Previous commentators are right to identify Hans Hotter as\nthe prime reason for acquiring the set. He sang the role with Strauss\nhimself conducting (and not just once), so there is a sense of\nauthenticity from that regard. And Hotter’s Jokanaan is indeed\nremarkable, his velvety voice still capable of carrying huge distances\n(even, ostensibly, from the bottom of wells). When he is first in focus\n(that is, at ground level) it is less imposing, more truly frightening, a\nprophet who surely should be in the Old Testament with its tales of\nutter violence. From this perspective, the outlay on the issue is fully\nvindicated. He is magnificent, a vocal Empire State Building. The top\nend of his voice never thins, maintaining the richness of tone,\nsomething vital in this role. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe sound on Pristine’s offering seems\nvery open, and there is plenty of orchestra detail. It also sheds more\nlight on Inge Borkh’s rather harsh sound and sometimes unpleasant\nvibrato. The surely deliberate petulance of the earlier parts of the\nopera opens out later, allowing the torment and, indeed, vortex of\nemotions to shine through. Max Lorenz starts off with plenty of vocal\nstrength for Herod (“Salome, komm, trink Wein mit mir”), and manages to\nproject the frustrations of obsession well, if not absolutely\ngrippingly. He does seem to tire later, though; neither is his Herodias,\nIrmgard Barth, in top form. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHowever, Keilberth’s way with the\norchestra is mightily impressive. There is amazing detail to the louder\npassages lost in many other recordings, a fact particularly impressive\ngiven the provenance of the issue. He seems to have an instinctive grasp\nof the light and shade (there is light) of the score, and his\nrealization of Strauss’s harmonic points have just the right amount of\ngive for them to register fully without degenerating into point-making.\nThe foregrounded percussion at the outset of Salome’s Dance is somewhat\nsurprising; the way Keilberth slides into the dance itself via the\nslithery bass figures more than compensates, as does the way he paces it\ninexorably towards its climax as if it were a Ravel \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nviewed through a hallucinogenic kaleidoscope. Keilberth shapes the\nfinal portion of the opera like a master, increasing the horror of the\nunfolding story (listen to the vivid bass, perfectly retained here in\nthis issue, around “Ach ich habe deinen Mund geküssst,” towards the end\nof the opera: The hollowness of that bass, the sparseness of the texture\nand the desolate wind figurations tell the whole story. The Modernist\nshrieks of the final pages are viscerally rendered. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwas issued on Decca LXT2917, produced by Victor Olof. Recorded in\nDecember 1953 in the Grosser Musikverein, this is a much undervalued\nscore (I for one have yet to hear it live), yet it holds much of value.\nKrauss is here fortunate to have the golden sound of the Vienna\nPhilharmonic at his disposal: Listen to how the opening of the first\nmovement, “Auf der Campagna,” glows with an inner light. The long violin\nlines are dripping with affection above a lush carpet of an\naccompaniment. There is no sense of apology for the youth of the\ncomposer here (it was written in 1887). One can discern the great\norchestrator (try the opening of the third movement, “Am Strande con\nSorrent”), and many Strauss fingerprints are there (the rhythmic figures\nof the second movement, “In Roms Ruinen,” for example, given with such\naccuracy by the Vienna players). The score is, at many points, simply\nmagical and has lain in the shadow of the more famous tone poems for far\ntoo long. Keilberth is a miraculous guide, allowing the lines to\nbreathe naturally. The explosion of the finale (“Neapolitanisches\nVolksleben”) uses a tune by Denza (you’ll know it, for sure) which\napparently Strauss mistook for a Neapolitan folk tune. The finale is in\nfact delightful through and through, bathed in Italian sunshine filtered\nthrough Strauss. Interpreted by the VPO, who could ask for more? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO111.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKeilberth and Krauss conduct a Richard Strauss double bill: Salome \u0026amp; Aus Italien\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Strauss\nwanted Mendelssohn-like textures in his Salome. These Keilberth, one of\nthe last conductors to work with the composer, provides...\" -\nGramophone\u003cbr\u003e\u003cbr\u003e\"I don’t know of any record that sounds better than this highly recommended one of Aus Italien\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs live staged opera recordings of the era go, the 1951 Keilberth \u003cem\u003eSalome\u003c\/em\u003e\nwas remarkably successful., giving me plenty to work from. This XR\nremastering has dealt with the rather constricted sound of the original,\nbringng out depth, a sense of space, and a sparkling top end that makes\na huge difference to the dramatic impact of the performance. This had\nthe unexpected bonus of improving the perceived balance between singers\nand orchestra to a significant degree, all of which is of great benefit\nto the overall impression of drama and what Gramophone's reviewer called\na \"vital sense of occasion\".\u003c\/p\u003e\u003cp\u003eI've coupled it with Krauss's 1954 \u003cem\u003eAus Italien\u003c\/em\u003e at least\npartly because the works fit well onto two discs - there was no suitable\nKeilberth Strauss recording to fulfill this role. The Decca studio\nrecording was indeed excellent for its day, but the tone was a little\nthin, especially at the bottom end. Again, though, I had a good start,\nand the full, beautiful tone of the Vienna Philharmonic can now be heard\nto great effect in one of Clemens Krauss's final recording sessions.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eSalome, Op. 54\u003c\/span\u003e\n\u003cp\u003eInge Borkh (Salome)\u003cbr\u003eHans Hotter (Jokanaan)\u003cbr\u003eMax Lorenz (Herodes)\u003cbr\u003eIrmgard Barth (Herodias)\u003cbr\u003eLorenz Fehenberger (Narraboth)\u003cbr\u003eKatja Sabo (Page)\u003cbr\u003eKarl Ostertag, Peter Kaussen, Georg Binder, Walther Carnuth, Rudolf Wünzer (Fünf Juden)\u003cbr\u003eMax Proebstl (Erste Nazarener)\u003cbr\u003eAlbrecht Peter (Zweite Nazarener)\u003cbr\u003eAdolf Keil (Soldat)\u003cbr\u003eFritz Friedrich (Soldat), \u003cbr\u003eKarl Hoppe (Cappadozier)\u003c\/p\u003e\n\u003cp\u003eBavarian State Opera Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJoseph Keilberth\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLive stage performance, Munich Festival Hall, 21 July 1951\u003cbr\u003eTransfer from Melodram MEL-S 106 (2) \u003c\/p\u003e\n\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eAus Italien, Op. 16\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVienna Philharmonic Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded December 1953, Grosser Saal, Musikverein, Vienna\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Cyril Windebank\u003cbr\u003eIssued as Decca LXT.2917\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_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\/PACO111.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO111.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":44064785629274,"sku":"nfc1789304934852","price":28.96,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064785662042,"sku":"jkr1789304934853","price":17.36,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064785694810,"sku":"oyv1789304934854","price":15.32,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064785727578,"sku":"shy1789304934855","price":13.58,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/keilberth-krauss-r-strauss-salome-aus-italien-195153---paco111_1.jpg?v=1789304964","url":"https:\/\/vestorawear.shop\/products\/keilberth-krauss-r-strauss-salome-aus-italien-195153-paco111","provider":"My Store","version":"1.0","type":"link"}