Photo by Patrick Gipson
Patricia Racette's first Salome, a role many suggested her voice may not fit, apparently took place at Ravinia well enough, aided significantly by amplification. Wynne Delacoma reports in Chicago Classical Voice:
Conductor James Conlon, Ravinia’s music director, assembled a strong cast, led by American soprano Patricia Racette who was singing the title role for the first time. Racette’s lyrical voice might seem an odd fit for a demanding role that’s usually the province of singers whose arsenal also includes Brunnhilde. But her instrument is big, gleaming and full of color. Ravinia’s amplification system, a necessity for its sprawling outdoor space, was on full blast and clearly ramped up Racette’s inherent power. But the blend of sound between orchestra and soloists was well-balanced, and Racette’s full-throated, satiny sound easily rode the massive orchestral waves.She sounded fresh and confident throughout the unbroken 90-minute performance. In Salome’s horrifying final monologue her vocal line moved like a force of nature amid the tumult of Strauss’ raw-edged percussion, ominous woodwinds and sumptuous strings. Her Salome was an intriguing blend of calculating woman and willful child.