ūü鼂ôę‚ô™ – Salome by Richard Strauss

List Item: Listen to half of the 1001 Classical Works You Must Hear Before You Die
Progress:
 49/501Title: Salome
Composer: Richard Strauss
Nationality: German
Year:
1905

I posted a near identical picture to today way back in December for my post about the ballet Sleeping Beauty. That was an evening that was enjoyed so much, to the point of immediately looking on the website of the English National Opera to see if there was another production that caught our eye Рwhich is how we ended up with tickets to see their version of Salome. 

This is being posted nearly half a year since that production ended, so review of this particular version are easily Googleable. I think that a lot of what I saw can be easily summarised by Tatianna from¬†RuPaul’s Drag Race:¬†“choices”.

What unfolded over an hour and fifty minutes was a baffling series of choices in an effort to modernise this opera. The fact that¬†Salome¬†is a story of necrophilia and incest means that there is no real need to bring the subject matter up to date in order to facilitate a reaction. Still, this did make for a different form of entertainment than I expected (such as marvelling at the gigantic purple headless horse having it’s knitted entrails pulled out) there were some things that I felt cheated out of – such as a good interpretation of the infamous ‘Dance of the Seven Veils’ (because twerking has no place in opera!).

Anyway, let’s divorce this interpretation from the music. The orchestra were fantastic and most of the vocal performances were excellent – which means I can actually talk about this on a purely musical level as I have done with the likes of¬†Porgy & Bess¬†and¬†The Nutcracker.

The orchestra required to pull off Salome is huge and has provided me with an opportunity to see the triangle in action. There are a large number of recurring motifs throughout the opera, but for the most part the music really helps to heighten the feelings of discomfort at what you are seeing unfold.

A lot of the music that what we hear is dissonant and, at times, unnerving. Even the Arabesque ‘Dance of the Seven Veils’ is ominous and brought to mind¬†The Rite of Spring (despite the twerking).¬†It’s a brilliant score and, on the night, was well executed.

The story of Salome itself is utterly bizarre and I wish that the staging had allowed me to appreciate it all the more. I mean is it too much to ask for a model head to be used for the severed head of the prophet Jochanaan instead of a plastic bag filled with (what I assume is) pink slime.

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