A desperately decadent Salome revived in Naples

Ricarda Merbeth (Salome)

Rocarda Merbeth (Salome), Charles Workman (Herodes) and Liona Braun (Herodias)

Salome

Ricarda Merbeth (Salome) and Brian Mulligan (Jochanaan)

Par Lorenzo Fiorito, 21 mars 2025

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“Ricarda Merbeth... commanding, navigating the complex score with expressive nuance”

Critique faite à Teatro di San Carlo, Naples, le 20 mars 2025

Strauss R., Salomé

Teatro di San Carlo

Dan Ettinger, Direction

Manfred Schweigkofler, Mise en scène

Nicola Rubertelli, Décors

Kathrin Dorigo, Costumes

Claudio Schmid, Lumières

Orchestra del Teatro di San Carlo

Coro del Teatro di San Carlo

Charles Workman, Hérode Antipas

Lioba Braun, Hérodias

Ricarda Merbeth, Salomé

Brian Mulligan, Jochanaan

John Findon, Narraboth

Štěpánka Pučálková, le page de Hérodias

Liam James Karai, premier Nazaréen

Žilvinas Miškinis, second Nazaréen

Dominic Barberi, premier soldat

Artur Janda, second soldat

Gregory Bonfatti, premier Juif

Kristofer Lundin, deuxième Juif

Tianxuefei Sun, troisième Juif

Dan Karlström, quatrième Juif

Stanislav Vorobyov, cinquième Juif

Giacomo Mercaldo, un Cappadocien

Vasco Maria Vignoli, un escalve

Corpo di Ballo del Teatro di San Carlo

Rosa Feola’s Lucia rescues a San Carlo production showing its age

Lorenzo Fiorito, 11th March

Gianni Amelio's 2021 production of Lucia di Lammermoor at the Teatro di San Carlo serves the music, but it no longer commands the same sense of discovery.

***11

Laurent Pelly’s Falstaff passes the Naples test with flying colours

Lorenzo Fiorito, 15th February

The French director’s much-travelled production arrives at the Teatro di San Carlo, displaying a precise balance between word, gesture and voice.

*****

Ludovic Tézier delivers a noble Nabucco in Naples

Lorenzo Fiorito, 18th January

Andreas Homoki’s staging at the Teatro di San Carlo, setting aside a few inconsistencies with the libretto, does not indulge in redundant symbolism.

***11

Ennio Morricone’s only opera, Partenope, finally premiered in Naples

Lorenzo Fiorito, 14th December

Vanessa Beecroft’s production of Ennio Morricone’s demanding sole opera relies on strong visual images.

***11

San Carlo’s Medea a clash of worlds in a neoclassical framework

Lorenzo Fiorito, 10th December

A new Medea at the Teatro di San Carlo presents three distinct visions – neoclassical in the pit, expressionistic on stage and conceptual in the direction – that never fully merge.

***11

Vocal triumph in Un ballo in maschera at the Teatro di San Carlo

Lorenzo Fiorito, 11th October

Faithful to the libretto’s dramaturgy, the staging unfolds in scenographic environments of strong impact -

****1

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Lorenzo Fiorito

Lorenzo Fiorito holds degrees in Humanities and in Languages and Literatures, and a Phd in Languages for Special Purposes. He is a lecturer in historical musicological subjects at the Pegaso University, Naples, the Universitas Mercatorum, Rome and MEDEA Higher Education Institution, Malta, currently researching musicology as a special language. He is a member of the National Music Critics Association and of the Italian Society of Musicology. He edited a series of volumes in Musicology and History of Music for the publisher Diana Edizioni, mainly concerning the Neapolitan School of Music of the 18th century, and is the founder and artistic director of the “Francesco Durante Festival” in Frattamaggiore.