Organization

Direzione d'orchestra

Leo Hussain

Regia

Barrie Kosky

Scenografia

Katrin Lea Tag

Costumi

Luci

Joachim Klein

Drammaturgia

Zsolt Horpácsy

Cantante

Soprano

Ambur Braid

Salomè

Baritono

Nicholas Brownlee

Jochanaan

Mezzosoprano

Claudia Mahnke

Erodiade

Tenore

Michael Porter

Narraboth

Bianca Andrew

Un Paggio di Erodiade

Theo Lebow

1. Ebreo

Andrew Bidlack

2. Ebreo

Magnus Dietrich

3. Ebreo

Andrew Kim

4. Ebreo

Basso

Alfred Reiter

5. Ebreo

Thomas Faulkner

1. Nazareno

Sakhiwe Mkosana

2. Nazareno

Un uomo della Cappadocia

Oper Frankfurt

Seung Won Choi

2. Soldato

Chiara Bäuml

Uno Schiavo

Matthias Wohlbrecht

Erode

Katharina Magiera

Gerard Schneider

Erik Van Heyningen

1. Soldato

Orchestra

Frankfurter Opern- und Museumsorchester

Thomas Blondelle

AJ Glueckert

tedesco

Salome -  (Salomè)

Francoforte

Germania

Opernhaus

Salome Strauss: Poster

Public

inglese

Approvato

Salome Strauss

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 Jochanaan to her, although this is 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 watches them and 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 are giving 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 is forced to give in and has the prophet beheaded. Salome kisses Jochanaan’s mouth. Strauss’ 100+ minute one act opera exploded onto the world of music at a time of turmoil, the turn of the 20th century. Oscar Wilde, whose play inspired the composer to radical innovation, wasn’t the first to plump for the Salome story from the New Testament, but Wilde’s version concentrates on the clash between sensuality and religion: Salome demands the head of the prophet Jochanaan from her step father Herodes because he promised her anything she wanted if she would dance for him, and to pay Jochanaan back for not finding her attractive. Inspired by the fascinating text Strauss' increased his sound language to a never before heard intensity. He didn’t bother creating an atmospheric illustration of the text, concentrating instead on the conflict between Salome and Jochanaan, on their radical differences, making the worlds of love, and ideas of what love might be, collide in one enormous, inevitable climax. Director Barrie Kosky and set costume designer Katrin Lea Tag tell a love story entirely from Salome’s perspective: a production marked by concentration and breathtaking intensity.

English

Um eine aufwühlende Epoche, die Wende zum 20. Jahrhundert, geht es in Strauss’ hundertminütigem Einakter. Oscar Wilde, dessen Drama den Komponisten zu radikalen stilistischen Erneuerungen inspirierte, war nicht der erste, der sich des biblischen Salome-Sujets bediente. Doch bei Wilde zeigt sich die Geschichte als Zusammenprall von Sinnlichkeit und religiöser Askese: Die Prinzessin Salome fordert von ihrem Stiefvater Herodes den Kopf des Propheten Jochanaan, weil ihre Liebe unerfüllt geblieben ist. Unter dem Einfluss dieser faszinierenden Textvorlage reicherte Strauss seine Klangsprache mit einer bis dahin noch nie gehörten Intensität an. Er verzichtete auf eine atmosphärische Illustration des Textes und konzentrierte sich auf den Konflikt zwischen Salome und Jochanaan, auf die Radikalität ihrer Unterschiede. In einer groß angelegten Steigerung lässt sein Einakter Welten, Lebensentwürfe und Vorstellungen von Liebe aufeinanderprallen. Der Regisseur Barrie Kosky erzählt eine Liebesgeschichte komplett aus Salomes Perspektive: eine Deutung, die sich durch Reduktion und eine außergewöhnliche Intensität auszeichnet.

Deutsch

Salomè by Strauss, Da (2024/2024), Diretto da Barrie Kosky,, Direttore d'orchestra Leo Hussain, Opernhaus, Francoforte, Germania

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