We eagerly awaited the revival of Lydia Steier‘s production of Salome at the Paris Opera, which had sparked much controversy since its premiere last season. What a powerful and relevant reinterpretation of Richard Strauss’s masterpiece! And what a tribute to this score, which since its creation in 1905 has sparked numerous controversies and stirred many sensitive souls – let’s recall that the great Marie Wittich initially refuses to create the role, considering herself a “respectable woman”, and let’s also remember that the opera was initially censored in the United States.
In this context, what could be more pertinent than updating the provocative, almost excessive spirit of this libretto and music? From the lifting of the curtain and the brilliance of the first clarinet notes, the intensity is palpable, and the post-apocalyptic atmosphere in which we remain immersed for 1 hour and 45 minutes, without the slightest pause, captures all the senses and announces the intensity of the experience to come.
And what a cast! Lise Davidsen in the title role mesmerizes the Bastille audience, touching something very profound with her powerful, precise, and colorful voice in this infinitely cruel, almost barbaric princess. Embodying one of the most demanding roles in the repertoire, requiring so much vocal power and emotional depth, Davidsen’s voice soars with a fierce intensity, handling the lyrical passages with an ethereal delicacy that is simply breathtaking. Her portrayal captures Salome’s dangerous allure and tragic obsession perfectly, making her performance utterly unforgettable.
Johan Reuter, with his very Wagnerian tone, convincingly embodies a prophet constantly sored until his decapitation. His resonant authority makes Jochanaan’s moral fervor and spiritual intensity palpable. The tension between him and Salome is electric, each interaction charged with profound emotional stakes.
The couple Herodes and Herodias, portrayed by Gerhard Siegel and Ekaterina Gubanova, perfectly animate the second part of the opera with an almost diabolical madness. Herodes, filled with lust and paranoia, is unsettling yet captivating. Gubanova’s Herodias is a tour de force, embodying her manipulative and vindictive nature with chilling precision. Her rich mezzo-soprano adds depth and texture, making her scheming persona come to life.
Pavol Breslik’s Narraboth, the lovesick young captain, conveys innocence and desperate infatuation. His performance is hauntingly beautiful; his voice captures the purity of his hopeless love for Salome and his descent into despair with heartbreaking authenticity. His portrayal of Narraboth’s unraveling is deeply moving, providing a tragic counterpoint to the surrounding madness.
Special mention goes to Katharina Magiera as Herodias’s page, whom we were delighted to discover. Though small, the role demands youthful sincerity and loyalty and Magiera’s clear, expressive voice adds a poignant counterpoint to the madness around her, making her presence felt in every scene.
And we cannot forget the orchestra, which undoubtedly ranks among the world’s finest ensembles. They give all the necessary relief required by this demanding score during the crucial orchestral transitions, particularly during the famous Dance of the Seven Veils. The musicians navigate Strauss’s lush and complex orchestration in a performance which is nothing short of spectacular, adding layers of tension and beauty that underscore the drama on stage. The orchestra’s ability to evoke the intense psychological landscapes of the opera is truly remarkable.
This production of Salome at the Paris Opera under Lydia Steier’s direction not only lives up to its anticipation but also sets a new standard for the interpretation of Strauss’s work. The combination of stellar vocal performances, insightful direction, and orchestral excellence makes this a truly unforgettable experience. More Strauss, and more reinterpretations as powerful and relevant as this one!
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