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Salome is faceless and the Dance of the Seven Veils becomes a sardonic commentary on seduction in Komische Oper Berlin's austere new staging. 

The last of Jacques Offenbach's great buffo operettas provides an opportunity for topical satire but Max Hopp’s attempts at updating it fall short of the mark.

Von der Inszenierung farbenlos, in der Regie mit Potential, sängerisch mitreißend: Strauss' Meisteroper kann auch ohne Wiener Kulisse Kontur gewinnen.