Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

OPERA TODAY ARCHIVES »

Performances

Nadja Michael (Salome) [Photo by Clive Barda courtesy of the Royal Opera House]
25 Feb 2008

Salome at Covent Garden

The Royal Opera's new Salome is set roughly in the 1930s, in surroundings which refer overtly to Pasolini's Salò or the 120 Days of Sodom, populated by uniformed soldiers and naked whores.

Richard Strauss: Salome
Royal Opera House, Covent Garden, February 21, 2008

Above: Nadja Michael (Salome)
All photos by Clive Barda courtesy of the Royal Opera House

 

Its main set is a pale, dank, tiled basement – the excesses of the banquet in the palace above are glimpsed on an upper level which sits just below the proscenium arch. The 'below stairs' angle may be one of director David McVicar's trademark devices, but here it is evocative of a sewer, an underworld, a space suspended between this world and Hell. Designer Es Devlin has exercised faultless attention to detail in bringing this concept to life.

The people who inhabit this place are as devoid of human emotion as the animal carcasses we see hanging in one of the basement's doorways. Following Narraboth's suicide, the others make a point of picking their way around his fresh corpse as if to demonstrate just how little his death matters to them.

Nadja Michael's Salome is credibly young and nubile, slinky, poised, if not really sexy. She produces a huge sound considering her physical build, and it gleams on top when it is in tune, though she does have a few intonation problems. Her fixation with Jokanaan is quite understandable, as Michael Volle dominates the stage in both voice and presence even when he cannot be seen.

The Dance of the Seven Veils is not done as a conventional striptease but as a dream interlude after the modern fashion. It is a subtly disturbing fantasy sequence, where the tiled walls give way to black depths with cinematic projections which suggest Herod's sexual obsession with Salome from early childhood. This unspoken suggestion of Salome's lifetime of rape by her stepfather makes sense of her scheme to destroy both Jokanaan and Herod himself. At the end of the dance, Salome leads Herod off for one final tryst – this time on her terms – before making her fatal demand.

Robin Leggate was a late substitute as Herod. If he lacked the physical presence and vocal weight of Thomas Moser, who he replaced, he certainly found an element of black comedy in his petty, bickering interchanges with Daniela Schuster's Herodias.

Against the murky grey-white background, there is an emphasis on the luridness of Herod's court – represented by Herodias in her glittering turquoise gown – and of Jokanaan's murder, when the naked executioner emerges from the cistern dripping with the prophet's blood. However, Salome herself is a pale sylph in a glistening white dress, and Herod's fantasies of her during the Dance of the Seven Veils have a crisp monochrome purity. From Herod's perspective, her horrific request for Jokanaan's head comes as a complete surprise from someone he sees as a perfect specimen, an alabaster ornament.

Salome_006.png(left to right) Michael Volle (Jokanaan), Joseph Kaiser (Narraboth) and Nadja Michael (Salome)

And as this beautiful creature's white slip and limbs become drenched in Jokanaan's blood, the assembled court – at first averting their eyes in revulsion – gradually turn towards her and become transfixed on the spectacle, just as Herod's and Narraboth's eyes had always been inexorably drawn in her direction.

Orchestrally, the standards were generally high; Philippe Jordan certainly has an understanding of how to bring out the horror in Strauss's opulent score, though some untidy brass playing took the shine off the texture.

Ruth Elleson © 2008

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):