Organization

Conductor

Valery Gergiev

Singer

Soprano

Elena Stikhina

Salome

Baritone

Yevgeny Nikitin

John the Baptist

Tenor

Andrei Popov

Herod

Mezzo-soprano

Natalia Yevstafieva

Herodias

Stage director

Marat Gatsalov

Set designer

Monika Pormale

Costume designer

Mārīte Mastiņa-Pēterkopa

Rolands Pēterkops

Lighting designer

Alexander Naumov

Video designer

Katrīna Neiburga

Mariinsky Theatre

Others

The Mariinsky Chorus

Orchestra

Orchester des Mariinski-Theaters

nemščina

Saint Petersburg

Russia

Stars of the White Nights

Mariinsky-2

Salome Strauss

Public

Private

ruščina

angleščina

Approved

For one hundred and twelve years the opera directors from all over the world have been puzzling over the answers to the following two questions: (1) who are Jokanaan and Salome whose collision leads to a catastrophe; (2) what is the significance of the 10-minute Dance of the Seven Veils, which Salome performs at a culminating point in the story. It simply cannot be that Jokanaan is just a prophet, Salome – just a Jewish princess, and the famous dance – just a mediocre Eastern striptease. The director Marat Gatsalov, whose work is likely to be familiar to the drama theatre lovers, made his opera debut with this production. He has decisively cut through all the traditional clichés which have been associated with Salome for over a hundred years. The new production has no place for a dance with seven fabric veils, palms under the scorching Judea sun, or, for that matter, any items belonging to that place and epoch. The action might take place anywhere at no particular time, in the space created by set designer Monika Pormale, in the gigantic skyscrapers shaped like letters. What has taken the place of the Dance and Jokanaan’s head cannot be described for it can only be seen.
For one hundred and twelve years the best performers in the world have been selflessly throwing themselves into the depths of the volcano that is hidden in Richard Strauss’s Salome. Valery Gergiev and the Mariinsky Theatre have accepted Strauss’s challenge for the third time, and once again they have masterfully tamed the tempestuous musical element raving for an hour and a half.

English

Сто с лишним лет оперные режиссеры ломают голову над вопросами: кто такие Иоканаан и Саломея, чье столкновение ведет к катастрофе, и что такое десятиминутный танец семи покрывал, который падчерица царя Ирода исполняет в кульминации оперы? Режиссер Марат Гацалов, чьи работы хорошо знакомы любителям драматического театра, дебютировал в оперном театре – и все штампы, приставшие к «Саломее» за сотню лет, решительно отменил. Нет в его спектакле ни восточного стриптиза, ни бутафорской головы на серебряном блюде, ни пальм под истомленным небом Иудеи, нет вообще никаких примет страны и эпохи. Действие происходит в утонченном дизайнерском пространстве художницы Моники Пормале, в огромных буквах-небоскребах. Солисты самоотверженно бросаются в жерло вулкана, который Рихард Штраус спрятал в «Саломее», а Валерий Гергиев и оркестр виртуозно укрощают кипящую полтора часа без перерыва музыкальную стихию.

русский

Salome by Strauss, Od (2023/2023), Režija: Marat Gatsalov,, Dirigent Valery Gergiev, Mariinsky-2, Saint Petersburg, Russia

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