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![Salome]()
Salome (1953)
IMDB rating: 5.70
Plot: In the reign of emperor Tiberius, Gallilean prophet John the Baptist preaches against King Herod and Queen Herodias. The latter wants John dead, but Herod fears to harm him due to a prophecy. Enter beautiful Princess Salome, Herod’s long-absent stepdaughter. Herodias sees the king’s dawning lust for Salome as her means of bending the king to her will. But Salome and her lover Claudius are (contrary to Scripture) nearing conversion to the new religion. And the famous climactic dance turns out to have unexpected implications…
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Directors: Dieterle William
Actors: Granger Stewart,Laughton Charles,Hardwicke Cedric,Alan Badel,Sydney Basil,Schwartz Maurice,Moss Arnold,Asoka,Ahdar David,Beltram Ray,Ben Ali Bobker,Berest Frederic,Drama,History,
What's the LONGEST OVATION for a classical music performance – opera, symphony, etc. – that you know of?
The longest that I’ve ever heard of was 20 + minutes after the initial performance by the soprano Ljuba Welitsch in the title role of R. Strauss’ "Salome, conducted by Fritz Reiner at the Met. Opera in 1949. If I’m not mistaken, this is a later recorded performance by this ensemble:
http://www.youtube.com/watch?v=rjD8NSGDu u8
http://www.youtube.com/watch?v=aVoIc2esj oE&feature=related
Do you know of any longer? If so, please post documentation/links, etc if at all possible.
Thank you,
Alberich
"albert c": thank you for your answer.
But I hardly think that "Wikianswers" could be considered definitive; do you perhaps have anything more substantial to offer in the way of documentation?
"Doc Watson": looks like your example is going to win, hands down – WOW(no, double WOW, WOW) – incredible.
The actual longest running ovation (started in the theatre and continued for several hours in the streets) was for Othello, but it was for Giuseppe Verdi, the composer himself, after the premier.
Here’s the story in brief: After Aida was premiered Verdi quit writing operas for fifteen years. When he stopped he was the most famous composer of opera in the world. He simply retired to his large estate. One day an old friend brought him the libretto for Othello and Verdi was inspired, at the ripe old age of 74, to write another opera.
When it premiered in 1887 it was considered a world event, attended by royalty and heads of state alike. When the opera was over Verdi was called out twenty times (in itself not a record) then kept on stage after the last curtain call while one by one everyone in the audience came onstage, from kings to commoners, to sign a silver covered guest book and the applause continued for an hour until everyone had signed the guest book. When the embarrassed Verdi was finally allowed to leave the theatre his carriage was dragged through the streets of La Scala to the continuing ovations of thousands who had lined the streets around the theatre and followed the carriage. When the carriage was finally escorted to his hotel hundreds lingered outside the hotel and serenaded him with some of his more famous arias. Finally, four hours after the final act was over, the last of his admirers drifted away as the lights to his hotel suite were turned off.
Doc Watson | Jan 29, 2010
Placido Domingo in Otello
Placido Domingo holds the world record for the longest ovation ever on the operatic stage: 101 curtain calls and 80 minutes of applause, in Vienna, after singing Otello on June 30, 1991. Here’s a couple of more websites about this (for you to verify)
albert c | Jan 29, 2010
I can only think of one thing thats close-ish. After Kathleen Ferrier sung "Che Faro senza Euridice" in Orfeo ed Euridice, the audience kept applauding for close to twenty minutes – for one singer, for one song.
The longest ovation I have personally had was just over ten minutes – after Giulio Cesare. When I came out (after everybody else), to take my bow… they just wouldnt stop clapping. It got to a point where i was getting uncomfortable to continue waving and bowing, so they closed the curtain. There were six curtain calls that night.
During my performance of Rosina, I had to encore Una Voce Poco Fa. It was very strange.
MissLimLam | Jan 29, 2010
Evgeny Kissin always gets plenty of long ovations and ends up playing literally 10 encores. Those fanatics are quite ridiculous – they clap even until Carnegie clears out – I ended up leaving at 11:45pm!
Oh and when Alessandra Ferri retired from ABT at the age of 44 doing the ballet Manon, she was repeatedly called back onto the stage by the audience.
There are two other incidences that I know of, of long applause – when Juan Diego Florez sang La fille du regiment at the Met, the audience applauded so much he had to sing the aria again.
Daniel Barenboim also at Carnegie, when he did the complete Beethoven cycle, was brought back onto the stage so many times without yielding to do a single encore.
Noon Star | Jan 30, 2010
The amusing story comes to mind when I ask this, of the premiere of Mozart’s Marriage of Figaro.
Apparently so many encores were requested, Emperor Joseph had to enforce a ban.
"Joseph II., after issuing this order, spoke to some of the leading artists on the subject. "I daresay," he said, "you are pleased at my having put a stop to encores. It must be fatiguing for you to repeat so many songs." The artists obsequiously signified their agreement."
But I doubt it, which performer doesn’t like the compliment of an encore. 
Richard | Jan 30, 2010
One must distinguish between genuine, spontaneous applause motivated by musical appreciation, and the ’social’ applause produced by a fashionable audience anxious above all to prove its own sensibility. I am sceptical of the longer clapping sessions recorded; even clapping gently, one’s hands will soon get sore.
The most irresistible applause I ever heard (though I wasn’t timing it) was for an English choir performing music from the Anglican tradition at a French music festival. The audience was a good one; they were largely musicians, and knew what they were hearing – but had never come into much contact with Parry, Tallis or Byrd. Hearing them sung – and brilliantly sung – knocked them out.
At the end of the first half they would not let the choir leave the stage. The applause was obsessive and deafening. After a couple of encores, the conductor had to plead, in halting French, for his singers to be allowed to have a break before they tackled a second half of Handel and Purcell.
The same thing happened at the end of the concert, and we finally got to bed some time after midnight.
Michael B | Jan 30, 2010
