Name: Salome
Start: 2018-07-28T00:00:00.000Z
End: 2018-08-27T00:00:00.000Z
Location: Felsenreitschule

Admin

Organization

Śpiewak

Tenor

John Daszak

Herod

Mezzosopran

Anna Maria Chiuri

Herodiada

Sopran

Asmik Grigorian

Salome

Baryton

Gábor Bretz

Jochanaan

Julian Prégardien

Narraboth

Avery Amereau

Paź Herodiady

Matthäus Schmidlechner

Pierwszy Żyd

Mathias Frey

Drugi Żyd

Patrick Vogel

Trzeci Żyd

Jörg Schneider

Czwarty Żyd

David Steffens

Piąty Żyd

Tilmann Rönnebeck

Pierwszy Nazarejczyk

Paweł Trojak

Drugi Nazarejczyk

Neven Crnić

Przybysz z Kapadocji

Henning von Schulman

Pierwszy Żołnierz

Dashon Burton

Drugi Żołnierz

Dyrygent

Franz Welser-Möst

Reżyseria

Romeo Castellucci

Scenografia

Alessio Valmori

Kostiumy

Reżyseria światła

Marco Giusti

Choreografia

Cindy Van Acker

Dramaturgia

Piersandra Di Matteo

Salzburger Festspiele

Orchestra

Wiener Philharmoniker

niemiecki

Salzburg

Austria

Felsenreitschule

"But when Herod's birthday was being celebrated, Herodias' daughter danced before the guests. And she pleased Herod so much that he swore to give her anything she wanted. At her mother's urging she said, "Let me bring the head of John the Baptist on a bowl." The event that led to the beheading of John the Baptist is told in brief sentences in the Gospels of Matthew and Mark. The stepdaughter of the Galilean tetrarch Herod is still nameless here, and her enormous demand does not arise from her own will, but from that of her mother Herodias, who hates the uncomfortable prophet. However, what Salome (her name was first handed down from the fifth century) will make into a myth has been clearly named: putting oneself on display in the dance, at the same time the fascination of the viewer and the power that what is observed exercises over him. It seems as if artists, especially painters, have for centuries felt the soberness of the biblical description as a never-ending stimulus to give the story sensual concreteness and to embellish it in the most dazzling colors.

Salome experienced a literary boom in late 19th-century France: as a femme fatale and the epitome of perverted lust. The climax is Oscar Wilde's fin-de-siècle tragedy Salomé, written in French. Extending the original constellation of gazes, Wilde weaves a whole web of obsessive and unrequited gazes between the figures, as an expression or source of desire. Can one evade the gaze, as Jochanaan believes, who wants to forbid Salome to look at him “with her golden eyes under the gleaming lids”? Can the look be denied in order to trust only the word? Wilde's tragedy unfolds between the poles of eye and ear, physicality and spirituality, sound and word, looking and recognizing.
When Richard Strauss began to set an abridged German translation of the scandal-ridden piece to music in 1903, he saw himself faced with the challenge of conveying these contrasts in the medium of music – or even putting them into perspective. As a composer, after the symphonic poems with Salome, Strauss now also found his own language in the field of opera: the hitherto unimagined richness of timbre is just one of its unmistakable characteristics.

Italian director Romeo Castellucci, a profound explorer of the power of seeing, understood also as what we are seen by, will explore the hidden aspects of this "tragedy of the gaze". An artist with an extraordinary ability to create images that pulsate with the knowledge of the unconscious, he approaches Salome using the theatrical scene as a starting point. The impression of suffocation is suggested by an intervention in the classic image of the Felsenreitschule with its arcades hewn out of the rock of the Mönchsberg. It could be seen as an objective correlate to the sense of oppression that surrounds the protagonist on all sides and that permeates the music and the chasing of words in their repetitions throughout the libretto.

The staging conceived for Salzburg makes the figure of Salome the focal point, transforming her into the flame that enlivens everything present and that blazes up in the dance of the seven veils and consumes itself. The dance is the climax, a manifestation of strength and a final twitch that touches the viewer.

In a scenic image in which the sublime coexists with the ordinary, Castellucci's direction focuses less on the longing for the head trophy of Jochanaan than on cutting it off, cutting it away; not the object of desire, which is always already lost, but the touching loneliness a female figure in which we take part. And here the act of looking falls through its final suppression into the abyss of desire.
Christian Arseni, Piersandra DiMatteo

Salome Strauss,R

Public

Approved

Accordionist

Instrumentalista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Aktor

Broadcasting

Chorus Director

Chór

Extra

Fryzjer

Illustrator

Kompozytor / -ka

Korepetytor /- ka

Libretto

Makijaż

Orchestra Operations

Orkiestra

Other

Photographer

Poet

Produkcja wykonawcza

Przygotowanie chóru

Realizacja dźwięku

Stage Manager

Taniec

Teacher

Tłumaczenie

Vocal coach

Wideo

Wig & Makeup Designer

Writer

Writing and performance

Kontralt

Bas - baryton

Kontratenor

Alto

Continuo

Głos dziecięcy

Silent

Spoken

Salome 2018 · Trailer

Salome by Strauss, ndz 12 sie 2018, od (2018/2018), W reżyserii Romeo Castellucci,, Dyrygent Franz Welser-Möst, Felsenreitschule, Salzburg, Austria

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble

Program, informacje i streszczenie

Filmy

Zdjęcia

Dalsza lektura

Daty i miejsca występów

Miejsca