Drama in one act.
Libretto by the composer after Oscar Wilde
World premiere December 9 1905, Dresden
This production first seen March 1 2020
Sung in German with German & English surtitles
Introductory talks in the Holzfoyer 30 mins before curtain up and available here, and everywhere podcasts are to be found
Salome is Herodias’ daughter and the Tetrarch Herodes’ step-daughter. His captain, Narraboth, goes into raptures about Salome’s beauty. The voice of the prophet Jochanaan, who's being held prisoner by Herodes, is heard, announcing the coming of Christ. Fascinated by his voice Salome asks the captain to bring him to her, although it's strictly forbidden. The prophet laments Salome’s mother Herodias and her step-father’s iniquities. Salome falls in love with him: she wants to touch his body, his hair and kiss his mouth. Narraboth, watching them, stabs himself in despair. But the prophet spurns Salome and damns her. Herodes is looking for his step-daughter. Narraboth’s death and the prophets words have given him panic attacks and terrifying visions. Herodias, badly stung by Jochanaan’s accusations, demands that he be silenced. Herodes asks Salome to dance for him, to calm him down. Herodes has to swear to give her anything she asks for in return. After Salome has fulfilled her step-father’s wish, she asks for the head of the prophet. Herodes, believing him to be a holy man, tries to make her change her mind. But, bound by his oath, he's forced to give in and has the prophet beheaded. Salome kisses Jochanaan’s mouth.
The elementary forces and sensuality in Strauss’ first great operatic success shook an era to its foundations. According to Flavius Josephus, an ancient historian, Salome was a Jewish princess who became increasingly significant down the centuries because she was linked to the beheading of John the Baptist. Oscar Wilde’s play, upon which the composer based his 100+ minute opera, inspiring him to radical stylistic inventions, was a scandal at the turn of the century. In this psychodrama full of suppressed desires and psychological abysses: Salome, Herodias’ daughter and Herodes’ stepdaughter, desires the prophet Jochanaan, who Herodes’ holding prisoner. But he despises and humiliates Salome. Herodes promises his stepdaughter anything she wants if she'll dance for him. And she wants Jochanaan’s head …
Strauss avoided creating an atmospheric illustration of the text, concentrating on the conflict between Salome and Jochanaan, and the radical nature of their differences. Director Barrie Kosky and set & costume designer Katrin Lea Tag tell a love story from Salome’s perspective: A reading, in its clarity, marked by unusual intensity.
