Although Richard Strauss described Salome as a Scherzo, there is no jest, no irony, and little amusement in his opera. With its unsettling timbres, turbulent dissonances, unsteady rhythms, and an eclectic blend of styles, the work challenged the norms of his conservative audience at the premiere. The dark, obsessive, desperate eroticism of the protagonist shocked fin-de-siècle decadent society.
But Salome is far more than just a scandalous tale. While accusations of indecency have long surrounded it, the opera's impact on 20th-century music is undeniable. Strauss forgoes a traditional overture, denying the audience a gentle introduction. The tension remains unrelieved throughout the intense one-act structure, demanding both vocal and instrumental prowess.
The San Carlo’s revival of an old production by Manfred Schweigkofler (set designer Nicola Rubertelli, costume designer Daniela Ciancio), places the drama in a surreal, timeless atmosphere tinged with echoes of the early 20th century, the scandalous era that birthed the opera. While not historically literal, the setting remains faithful to the libretto. A massive tilted mirror that reflects the floor’s design, intensifying the audience’s sense of estrangement, crowns Herod’s palace, with its imposing staircase and central cistern. The production's visual and emotional impact earned resounding applause.
Ricarda Merbeth portrayed Salome as a manipulative, sexually awakened teenager, her obsession with Jochanaan growing increasingly unsettling. Her vocal performance was commanding, navigating the complex score with expressive nuance. The role demands a soprano of formidable vocal and dramatic prowess. Her voice painted a portrait of a spoiled princess, her sexual awakening a terrifying force. Each phrase was rendered with crystalline clarity, each word imbued with chilling psychological precision. The vocal coloration of her performance shifted from the bright, almost child-like timbres of her first scenes, to the dark, nearly metallic sounds of the final scene, showing the terrible transformation of her character.
Charles Workman's Herod was a corrupt ruler, his lust tainted by the fragility of age. His tenor, though capable of moments of lyrical beauty, was often twisted into grotesque shapes, mirroring the character's moral disintegration. Brian Mulligan's Jochanaan resonated with an almost prophetic timbre; the sonorous quality of his voice, combined with his stage presence, created an imposing figure. Lioba Braun's Herodias conveyed the character's bitter resentment and vengeful satisfaction. Although moments of overacting threatened to disrupt the dramatic balance, her vocal performance carried the weight of her character's malice. John Findon's booming, clear tenor captured Narraboth's neurotic obsession with poignant fragility. The quality of his voice, and the precision of his phrasing, helped to portray the character's mental instability.
Merbeth herself, accompanied by seven dancers, performed the infamous Dance of the Seven Veils. Her demand for Jochanaan’s head followed, accompanied by the ominous plucking of the basses. The climax was harrowing, with Salome embracing the severed head, her garment stained with blood, before delivering her twisted kiss.
Dan Ettinger conducted with remarkable sensitivity to the opera’s visceral nature. He maintained a challenging balance between the orchestra's energy and the singers' voices, ensuring the orchestra’s powerful sound never overwhelmed the cast. His interpretation underscored both the beauty and the horror embedded in Strauss’ score, leaving a lasting impression.
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