James Karas
The Royal Opera House has revived David McVicar’s 2008 production of
Salome to good effect. McVicar shows originality, creativity and attention to
detail that make established operas appear fresh and highly exciting.
The atmosphere of the current production done in modern dress (tuxedos,
elegant gowns, khaki for the soldiers and traditional clothes for servants)
ranges from a high-toned party thrown by Herod to the highly erotic and
somewhat lewd atmosphere in the dungeon below where St. John the Baptist is
guarded. More below.
Michael Volle as Jokanaan, Malin Byström as
Salome © ROH/Clive Barda
Swedish soprano Malin Byström who has made a name as a lyric soprano
tackled the dramatic role of Salome with superlative results. Salome is
disgusted by the leering of her stepfather Herod (John Daszak) who killed her
father and is married to her mother. And she has developed a passion for the
imprisoned John the Baptist. The more he rejects her, the more impassioned she
becomes and expresses her unrequited love for him with ever-increasing
ferocity. Byström has a plush and powerful voice and the ability to confront
all these vocal and acting demands.
She gives a magnificent performance of the power of irrational love that
has taken a grip over her. She agrees to dance for Herod provided he will give
her whatever she wants. Here is the disappointing part of the evening. Malin
Byström can’t dance. She runs across the stage, she twirls a veil and dances a
few steps with Herod. Even imaginative video projections can’t hide the fact
that she is not a good dancer and all we can do is settle for Strauss’s music.
McVicar wants us to believe that this is a journey into Salome’s past and her
troubled childhood that traumatized her. OK. Good try.
Tenor John Daszak looked hormonally possessed and menacing as he tried
to seduce Salome and was forced to promise “anything” to the more powerfully
possessed Salome. The matronly and fine-voiced Herodias of Michaela Schuster
suffered the double humiliation of being thrown over and for her daughter at
that.
Powerhouse singing is required from the Baptist and Michael Volle
provided the requisite vocal ammunition. Looking like a wild man, he heaps
scorn on all the sinners who are not aware that the Son of God is on earth. He
is especially vehement towards Salome which increases her obsession and the
tension between the two. Volle dominates the stage when he is singing and makes
a superb duo with Byström.
McVicar is attracted by the contrast between the coarse and the genteel.
While the sophisticated party is going on above in Herod’s quarters, we see a
nude woman in the dungeon who appears scantily dressed a number of times. There
is an Executioner (Duncan Meadows) who looks like Atlas holding the world in
his powerful hands and he is buck naked. All of which pales in comparison with
the ultimate scene where Salome fulfils her sexual passion for the Baptist by
kissing his severed head on the lips.
David Butt Philp sings a delicate Narraboth who is in love with Salome.
Louise Armit sings the role of Herodias’s slave who is in love with Narraboth.
They are small roles but McVicar makes the most of them.
Hungarian conductor Henrik Nánási conducted the Orchestra of the Royal
Opera House to great effect with Strauss’s commanding and very difficult music.
______
Salome by Richard Strauss opened on January 8 and will be performed seven tomes
until January 30, 2018 at the at the Royal Opera House,
Covent Garden, London. www.roh.org.uk
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