Organization

Cantante

Tenore

Scott MacAllister

Erode

Peter Svensson

Mezzosoprano

Anna Maria Chiuri

Erodiade

Lela Di Braca

Soprano

Cristina Baggio

Salomè

Cassandra McConnell

Baritono

Samuel Youn

Jochanaan

Johmi Steinberg

Harrie van der Plas

Narraboth

Un Paggio di Erodiade

Anna Lucia Nardi

Michael Scott

Ebrei

Rouwen Huther

Ulfried Haselsteiner

Giorgio Misseri

Patrick Simper

Kristof Klorek

Nazareni

Riccardo Botta

Roman Ialcic

Soldati

Jakob Zethner

Basso

Vito Maria Brunetti

Un uomo della Cappadocia

Martina Bortolotti von Haderburg

Uno Schiavo

Direzione d'orchestra

Niksa Bareza

Regia

Manfred Schweigkofler

Scenografia

Walter Schütze

Costumi

Kathrin Dorigo

Luci

Claudio Schmid

Coreografia

Valentina Versino

Fondazione Haydn di Bolzano e Trento

Orchestra

Orchestra Sinfonica Haydn di Bolzano e Trento

Salome -  (Salomè)

Bolzano

Italia

Teatro Comunale

Sala Grande

Salome Strauss,R

Approvato

Salome

A euphoric, neurotic, jaunty, hyperactive, chilling hybrid between woman and child, hysterical and misfit teenager. Cristina Baggio, making her role debut, delves into the psychology of the character by returning in the premiere of the new Bolzano staging a different and stimulating Salome, more childish, more problematic, in a suffering and continuous contortion in body as in soul. Strauss' work is reborn a hundred years later and if the erotic perversion of the subject that so agitated the censorship in 1905 loses vigor for today's viewer, what still disturbs is the deviated psychology of a woman who responds to unbridled desire, like the tides to the power of the moon. And that lunar white is the color of the work, a pretext of chastity necessary to balance the turbidity of the mental darkness: from Salome's dress flooded with light to the neon satellites punctuating a scene invaded by metal grays, silvery trash from Herod's court. The production of the Teatro Comunale di Bolzano can be heard in one sitting. The orchestra, arranged over the entire stage behind a black veil, restores Straussian refinement while what happens on stage, reconstructed on the vertically expanding pit, captures the audience almost looming over the stalls. The contact is immediate: Salome is today, her dystonia is that of our society. When Herod attends the "lap dance of the seven veils" in the foam of a tub, we laugh because the bunga bunga of our chronicles looks more like the Hollywood Party, but in the necrophilic dance of the finale the terror of the twenty-first century neuroses freezes.

English

Salomè by Strauss, Da (2012/2012), Diretto da Manfred Schweigkofler,, Direttore d'orchestra Niksa Bareza, Teatro Comunale, Bolzano, Italia

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