Organization

Singer

Soprano

Lise Lindstrom

Salome

Baritone

Tomasz Konieczny

John the Baptist

Tenor

Frank van Aken

Herod

Mezzo-soprano

Violeta Urmana

Herodias

Alejandro del Cerro

Narraboth

Josep Fadó

First Jew

Conductor

David Afkham

Bass

David Cervera

Fifth Jew

First Nazarene

David Sánchez

Second soldier

Pedro Llarena

A Cappadocian

Francesca Calero

A slave

Lydia Vinyes-curtis

A Page of Herodias

Pablo Garcia Lopez

Second Jew

Vicenç Esteve

Third Jew

Angel Rodriguez Rivero

Fourth Jew

COMPETITOR AND COACH

Alexandra Goloubitskaia

Orchestra

National Orchestra of Spain

Auditorio Nacional de Música

Madrid

Spain

Auditorio Nacional de Musica

Salome Strauss,R

Public

Approved

Richard Strauss was not the first composer to culminate an opera with the amorous ecstasy of a soprano next to the corpse of her lover – Wagner was four decades ahead of him in Tristan and Iseult – but if we had to brand one of these two as a necrophiliac, finalist titles in this peculiar tournament, would be that of Salomé (1905). The scandalous libretto –based on Oscar Wilde, but full of the «transvaluation» spirit that the young Strauss celebrated with such relish in Nietzsche's work– constitutes only the starting point of a wild and refined musical proposal in equal parts, which renews the Wagnerian heritage at the stroke of sensationalism learned from the Italian giovane scuola (verismo) and thus converts Salome and John the Baptist into the perverse and gloomy counterparts of Isolde and Parsifal, respectively. The subsequent leap to atonality by Schönberg and his disciples and the irruption of Stravinsky's The Rite of Spring in Paris repositioned  the cards on the Central European musical board in less than ten years. But during at least this period, Salome had the honor of being the most avant-garde and audacious work ever heard, before becoming that brutal musical experience that we will never tire of repeating

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