Richard Strauss: Salome
English National Opera, Martyn Brabbins, Adena Jacobs
The Coliseum, 3 October 2018
In a production that veered from My Little Pony, via Lolita, to the Texans Chainsaw Massacre, there were two clear winners: the music of Richard Strauss, given a superb reading by Martyn Brabbins and the Orchestra of English National Opera, and mezzo Allison Cook in her strangely compelling and insightful interpretation of the complex role of Salome – a role and ENO debut. Usually depicted as the archetypical seductive femme fatale, for most of this production, directed by Adena Jacobs in an ENO debut, she seemed far more like a confused, hormone-ridden teenage girl, becoming increasingly fragile, delicate, and in need of protection. Perhaps I was viewing it through the mind of a father, rather than a voyeur, but it was an incredibly powerful image. Her first appearance was as a black-clad, demanding and confident long-haired princess arguing to see the imprisoned Jokanaan. As events unfolded, she mutated into a slight and vulnerable bare-breasted child-woman in minuscule schoolgirl gym knickers and with makeup smeared all over her face.
Richard Strauss: Salome
Royal Opera House. 8 January 2018
This third revival of David McVicar’s 2008 production of Salome is directed by Bárbara Lluch and conducted by Henrik Nánási. Although I saw the ROH’s predecessor to this production in the late 1990s, this was my first viewing of McVicar’s production. He adds several additional layers to Strauss’s (and Oscar Wilde’s) already complex take on the sparse biblical/Josephus story. Although Strauss’s music is firmly rooted in the post-Wagnerian idiom of the fin de siècle pre-Expressionist era, the nature of the plot continues to disturb and shock; perhaps more so today, when it is all too easy to relate aspects of opera plots like this to present day news items, people, and social concerns.
The setting was a large rather decrepit basement with bare walls, exposed pipework and a smattering of naked young women. Anybody expecting to have to wait an hour or so for the famous dance before a flash of female flesh had ample opportunities early on – but none in the actual dance. A sweeping staircase to one side led up to an almost hidden upper dining room where Herod and friends are feasting. All the action takes place in the basement space as the upstairs party slowly descend to the depths, in more ways than one. Most of the cast remained onstage throughout, along with several non-singing actors, mostly standing around watching events unfold. Towards the end, it was male nudity that was more apparent, with the executioner, for no apparent reason, stripping to the buff before descending into the cistern to behead Jokanaan. Although silent, as depicted in the libretto and music, this turned out to be a messy affair, the executioner returning completely covered in blood, front and back, top to toe. Continue reading