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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

Angela Denoke as Salome [Photo © ROH 2012 / Clive Barda]
04 Jun 2012

Salome, Royal Opera

In David McVicar’s staging of Strauss’s disturbing opera, first seen at Covent Garden in 2008 and now enjoying its second revival, Salome’s descent down the Stygian staircase is a literal drop into a subterranean slaughterhouse and an ethical fall into the delights and depravity of her of burgeoning yet deadly sexuality.

Richard Strauss: Salome

Salome: Angela Denoke; Jokanaan: Egils Silins; Narraboth: Will Hartmann; Herod: Stig Andersen; Herodias: Rosalind Plowright; First Soldier: Scott Wilde; Second Soldier: Alan Ewing; First Jew: Peter Bronder; Second Jew: Hubert Francis; Third Jew: Timothy Robinson; Fourth Jew: Pablo Bemsch; Fifth Jew: Jeremy White; First Nazarene: Andrew Greenan; Second Nazarene: ZhengZhong Zhou; Page: Sarah Castle; Cappadocian: John Cunningham; Slave: Madeleine Pierard. Conductor: Andris Nelsons. Orchestra of the Royal Opera House. Director: David McVicar. Revival Director: Bárbara Lluch. Designer: Es Devlin. Lighting design: Wolfgang Göbbel. Choreography: Andrew George. Revival Choreographer: Emily Piercy. Royal Opera House, Covent Garden, London, Thursday, 31 May 2012.

Above: Angela Denoke as Salome

Photos © ROH 2012 / Clive Barda

 

This is a Salome who is less interested in the bodily pleasures offered by the pure masculinity of Jokanaan than in the narcissistic celebration of her own vicious carnality. And, Angela Denoke is just the singer-actress to convey the princess’s escalating self-awareness and indulgence in emotional extremities. Denoke, returning as Salome after her performance in the production’s 2010 revival, may not have had the requisite consistent sheen at the top, and indeed may have struggled at times to hit the uppermost notes truly and securely — who wouldn’t given the unalleviated high tessitura? — but she possesses an emotional sincerity, communicated through an infinite variety of colours, shades and shadows, which wins the hearts and minds of the audience. Slightly tense at the start, she went from strength to strength: the final statement of her insistent demand, “Give me the head of Jokanaan”, was truly chilling in its honest exposure of human egoism; and in the final scene, as she cradled the bloodied head of the prophet, at times tender, then terrifyingly solipsistic, she communicated powerfully the destructive yet vulnerable self-regard of the eponymous anti-heroine before her thankfully inevitable death.

SALOME 120528_0202.pngStig Andersen as Herod and Rosalind Plowright as Herodias

As the ill-fated prophet, subjected to incarceration in the unfathomable depths of Herod’s subterranean prison, Egils Silins’ bass has the necessary biblical profundity to lend sonorous weight and resonance to his visionary pronouncements, which rise through the black grid of internment like clarion calls to humanity in the face of the wickedness to which it has submitted. Unfortunately, his perhaps understandably self-absorbed characterisation resulted in absolutely no erotic tension between Silins and Denoke; nor a real sense of the prophetic power which might strike such fear in the heart of Herod. And, as Jokanaan strode back and forth across the stage, fleeing Salome’s flirtatious advances, one wondered why the guards melodramatically traced his movements with their rifles given Herod’s command that the prophet must not be harmed. Surely none would risk such suicidal recklessness?

Stig Anderson, as Herod, used his resonance and power intelligently. There was no doubting his stentorian dominance and brutality when he unleashed his full force, but elsewhere his weak hesitancy was effectively conveyed.

Rosalind Plowright was a persuasive, vocally secure Herodias, sufficiently sumptuous to make her a convincing object of Herod’s desire, but not afraid to add a touch of roughness or harsh extremity to convey the Queen’s desperation to maintain her husband’s admiring gaze and her delight in capitalising on his weakness. Her relationship with her daughter was appropriately ambiguous.

The minor roles were performed with uniform accomplishment. The beautiful warmth of tone of Will Hartman’s Narraboth poignantly conveyed the purity of his transfixion in the face of Salome’s beauty; indeed, the understated portrayal of his death seemed a dramatic injustice. As the First and Second Soldiers, Scott Wilde and Alan Ewing were resonant and clear; similarly, Peter Bronder, as the first Jew, and Andrew Greenan, as the first Nazarene, were vocally and dramatically compelling.

SALOME 120528_0145.pngEgils Silins as Jokanaan and Angela Denoke as Salome

Andris Nelsons conducted the orchestra of the Royal Opera House in a thrilling, precise yet disquieting rendition of Strauss’s provocatively extrovert score. Solo lines emerged effortlessly from the luxuriant orchestral canvas. The seductive harmonies which foreshadow Rosenkavier — employed therein to depict exuberant sexual freedom, piquant desire and joyful satisfaction — were here bitterly destabilized by disconcerting instrumental colours textures and extremity of register, which Nelsons exploited to perfection. The conductor perfectly balanced measure and excess, liberation and control. His ability to restrain his naturally exuberant forces until precise moments of erotic release was nowhere more evident than in the Dance of the Seven Veils.

Oddly, here, McVicar eschews an erotic depiction of Salome’s growing appreciation of the power ordained by her beauty and nascent sexuality; rather we have a series of remarkably chaste, dream-like tableaux as Salome is relentlessly pursued through a series of chambers by Herod, her movements and gestures suggestive of an increasing interiority and introspection (à la Freud?). That is, until the final image portentous of imminent — or retrospective — rape.

There are many McVicarian clichés — gratuitous nudity, excessive blood-letting etc. etc. — but, while some have found some aspects of the production (the Nazi uniforms of the subterranean warders, for example) unduly specific and contradictory to Wilde’s somewhat stylised, even mythic, timelessness, to me they seemed true to the era in which Strauss composed his opera — when man’s appalling sadism was shortly to be revealed in its full horror. Es Devlin’s split-level designs — we are afforded glimpse of blasé banqueting diners loftily removed from the debasing debauchery below — effectively intimate the hypocrisy of the indifferent, and the shared culpability of all mankind. And, at the close, even the naked executioner Naaman (Duncan Meadows) is unable to overcome his disgust and turns his back upon the repellently orgasmic Salome, until required to fulfil Herod’s command to “Kill that woman!”; savagely breaking her neck, he conveniently relieves our own disgust and, thankfully, breaks our hypnotic absorption with Salome’s repulsive yet mesmerising self-glorification.

To some extent it is probably true that modern opera audiences, immune to the gore, nudity, depravity and gratuitous degeneracy regularly served up by directors, are largely unshockable. Yet, this listener for one experienced nauseating terror in the face of the dreadfulness of Wilde’s and Strauss’s disclosure of humanity’s inhumanity; a terror resulting less from the gruesome specificity of McVicar’s reading than from its suggestion of man’s ubiquitous amorality and cruelty — rendered supremely, and ironically, by Strauss’s painfully beautiful musical portrait.

Claire Seymour

SALOME 120528_0320.pngAngela Denoke as Salome, Stig Andersen as Herod and Rosalind Plowright as Herodias

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):