Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

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):