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Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Claus Guth's new production at the Metropolitan Opera, originally seen at the Bolshoi in 2021, moves the action from biblical Judea to the era of the opera's composition. 

Manfred Schweigkofler's production places the drama in a surreal, timeless atmosphere at the Teatro San Carlo. 

The limitations of AI are demonstrated in Alvis Hermanis’ problematic new production of Salome at Latvian National Opera. 

Heartbeat Opera’s chamber Salome marries musical ingenuity with dramatic clarity at The Space at Irondale. 

The Grand Théâtre de Genève is certainly not risk-averse and Hungarian director Kornél Mundruczó controversially translates the action to a penthouse bar in New York.

Not a great day for the patriarchy: Ersan Mondtag's gripping new Salome emphasises grotesque caricatures and ends with a bloody, plot-twisting coup d’état. 

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

Already a psychodrama as written, the Salome according to Cyril Teste takes us deeper into what makes the protagonist – or is she a tragic heroine? – into who she is.

Ambur Braid excels in the title role in the Canadian Opera Company’s starrily cast revival of Atom Egoyan's production.

A strong cast carries this satisfying revival of Andreas Homoki's production of Salome at Opernhaus Zürich.

Swedish soprano Malin Byström returns to Sir David McVicar's production at Covent Garden, where she is now probably unsurpassed in the role, vocally and histrionically.

Damiano Michieletto's production does not let the viewer rest easy even when the opera has ended.

The Staatsoper revives a confused production by Hans Neuenfels, under the baton of Thomas Guggeis.

Gale Edwards' Opera Australia staging of Richard Strauss' bloody opera is revived with Lise Lindstrom in the title role. 

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

An astonishing performance by Asmik Grigorian is central to the Italian director's disturbing reading of a disturbing opera. 

Opera North's Salome, conducted by Sir Richard Armstrong at Leeds Town Hall, caught the seductive frenzy of the opera.

Hans Neuenfels new Salome proves a strangely non-committal affair at the Staatsoper, but Thomas Guggeis conducts impressively.

With so little of worth happening onstage, this performance requires a unanimously strong set of performances from the main cast.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.

Ingo Kerkhof’s specious contemporary staging was only redeemed by a gruesome scalp and some marvellous playing in the pit.   

Gun-Brit Barkmin’s Salome was neither sexy, salacious, psycho-erotic nor particularly well sung.

Like most honest listeners I crave a taste of turpitude in Salome.

In a state of almost child-like transfiguration and fulfilment, Strid's voice fully encompassed the extremes of the last scene.

In an elegant new production by Ivo van Hove, Malin Byström portrays a graceful, erotic Salome and the RCO play with sensuous lyricism under Daniele Gatti.

Iréne Theorin gives a powerful interpretation of Salome and Elektra's mad scenes in a concert including Also sprach Zarathustra and a contemporary composition.

In Los Angeles, Patricia Racette was an impressive Salome but the orchestra was, as it should, the main character.

The Met revived Jurgen Flimm's modern production of Salome, with Patricia Racette making a successfu last minute role debut in the title role.

Carole Wilson’s Herodias almost upstages Lise Lindstrom’s sexy Salome in a fine revival of Boleslaw Barlog's 1972 production in Vienna.

Director Kirill Serebrennikov gives us a frightening new reality of the modern world beset by war and terrorism in his reimagining of Strauss's Salome

In director Daniel Slater’s production at Santa Fe Opera this summer, Freud is God, and a biblical saga of lust, incest and murder is presented through a Viennese, turn-of-the-century lens. 

A successful production for a scandalous opera which exercised a broad influence on the musical theatre of the 20th century.

The Dallas Opera adds a light touch to a Richard Strauss' decidedly unfunny opera Salome, featuring soprano Deborah Voigt in the title role. 

Polish director Mariusz Treliński puts a contemporary spin on Salome by retelling the story from a victim's point of view. 

Director Andrejs Zagars went for a multimedia presentation of Salome modernised to the 20th century, which had its moments, but left serious questions about deviations from Strauss’ score built around Oscar Wilde’s play unanswered.

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Erika Sunnegårdh’s Salome impresses in a revival of Peter Mussbach's striking production at the Dresden Semperoper. 

The Royal Swedish Opera's Salome, directed by operatic first-timer Sofia Jupither, is dramatic, and its strong directorial concept does not get in the way of the story. Nina Stemme sings astoundingly, and gives a nuanced portrayal of the title character.

For his fourth production for the new Oslo opera house, Norwegian director Stefan Herheim turned his attention to Richard Strauss’ one-act opera Salome. This production is a co-production with the Salzburg Easter Festival (where this production premièred in 2011) and the Teatro Real in Madrid.

Atom Egoyan’s production of Richard Strauss’ Salome is styled for extreme contrasts. You could think of it as Springtime for Herod in Judea. While patrons spilling out of limos, taxis and Wheel-Trans were gathering on this magnolia blossom-filled May Day evening in the plaza outside the opera house’s glass façade, a parade hedged by bicycle cops was filing by.

Salome was a huge, scandalous success at its 1905 première, and stagings of this, Richard Strauss’ third opera, have continued to shock audiences over the past century. This is hardly to be wondered at: after all, the title character’s final monologue ends with her kissing the severed head of John the Baptist, whom she has had executed for spurning her advances.

Few live events could offer a more intense, visceral, grotesque experience than witnessing a performance of Oscar Wilde’s play Salome translated and adapted for the opera stage by Hermann Lachmann and set to music by Richard Strauss.

“When I looked at you, I heard secret music,” says Salome in her monologue to the severed head of John the Baptist. Richard Strauss’s opera trades in the unseeable and the unknowable—from the range of metaphors applied to the moon to the nearly impossible staging of a ten-minute striptease performed by a dramatic soprano—which makes it unusually well suited to concert presentation.

When Richard Strauss first wrote Salome, he was unable to get it performed in his home city of Vienna, so shocking was the material with its heavy eroticism and necrophiliac ending (the première was in Dresden). A century on, times are more permissive, and Salome features in the seasons both of Vienna's Volksoper and of the Staatsoper, where we saw it last night.

Over a hundred years after its première, Richard Strauss's opera Salome retains its ability to shock. The opera was adapted from Oscar Wilde's retelling of the biblical tale, in which Herod's daughter demands and receives the head of the prophet Jokanaan (John the Baptist) on a silver charger.

Read our review of Jürgen Flim's production of Salome in its 2008 broadcast from the Met Opera in New York.