11/26/95: Near the end of your Salome, the soprano did not execute the portamento on “Liebe” in “Hat es nach Blut geschmeckt? Nein! Doch es schmeckte vielleicht nach Liebe.” Can you explain this?

The portamento is in the vocal score but not in the orchestra score. I find that following the orchestra score gets us a little closer to the innocence Strauss is said to have wanted for this role (which makes a lot of dramatic sense to me).