Organization

Dramaturge

Maurice Lenhard

Singer

Mezzo-soprano

Katharina Magiera

A Page of Herodias

Tenor

Matthäus Schmidlechner

First Jew

Éric Huchet

Second Jew

Maciej Kwaśnikowski

Third Jew

Bass

Luke Stoker

First Nazarene

Yiorgo Ioannou

Second Nazarene

Dominic Barberi

First soldier

Bastian Thomas Kohl

Second soldier

Alejandro Baliñas Vieites

A Cappadocian

Gerhard Siegel

Herod

Ekaterina Gubanova

Herodias

Soprano

Lise Davidsen

Salome

Baritone

Johan Reuter

John the Baptist

Pavol Breslik

Narraboth

Nicholas Jones

Fourth Jew

Florent Mbia

Fifth Jew

Ilanah Lobel-Torres

A slave

Opéra National de Paris

Stage director

Lydia Steier

Conductor

Mark Wigglesworth

Lighting designer

Olaf Freese

Costume designer

Andy Besuch

Set designer

Momme Hinrichs

Video designer

Orchestra

Paris Opera Orchestra

þýska

Paris

France

Opéra Bastille

Salome Strauss,R

Public

franska

enska

Approved

When King Herod promises his stepdaughter Salome, princess of Judea, whatever she wants in exchange for a dance, little does he know that she will ask for... the head of the prophet Iokanaan (John the Baptist), and worse still, that she will kiss his mouth. If the story of Salome dates back to the Gospels, it is Oscar Wilde's tragedy, written in 1891, that lends the myth all its force, intertwining as it does sexuality and religion, desire and death, obsession and decadence. Richard Strauss's third opera preserves the play's sultry contours whilst introducing highly modern vocal and orchestral music, causing a scandal at its 1905 premiere in Dresden. How is it possible to restore the disturbing force of this intense and sensual work today? By placing Salome in a near future where death and sex are commonplace, Lydia Steier delivers a radical vision that profoundly renews the character and invites us to question our own excesses.

English

Quand le roi Hérode promet à sa belle-fille Salomé, princesse de Judée, ce qu’elle voudra en échange d’une danse, il est loin de se douter qu’elle demandera… la tête du prophète Jochanaan (Jean le Baptiste), pire, qu’elle en embrassera la bouche.

Si l’histoire de Salomé remonte aux Évangiles, c’est la tragédie d’Oscar Wilde, écrite en 1891, qui donne au mythe toute sa puissance en mêlant étroitement sexualité et religion, désir et mort, obsession et décadence.

Le troisième opéra de Richard Strauss garde les contours sulfureux de la pièce en y ajoutant une musique vocale et orchestrale d’une grande modernité, provoquant le scandale lors de sa création à Dresde en 1905.

Comment restituer aujourd’hui la force dérangeante de cette œuvre intense et sensuelle ? En plaçant Salomé dans un futur proche où la mort et le sexe sont banalisés, Lydia Steier livre une vision radicale qui renouvelle profondément le personnage et nous invite à questionner nos propres excès.

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