Organization

Певец

Тенор

Scott MacAllister

Ирод

Peter Svensson

Меццо-сопрано

Anna Maria Chiuri

Иродиада

Lela Di Braca

Сопрано

Cristina Baggio

Саломея

Cassandra McConnell

Баритон

Samuel Youn

Иоканаан

Johmi Steinberg

Harrie van der Plas

Нарработ

Паж Иродиады

Anna Lucia Nardi

Michael Scott

Ebrei

Rouwen Huther

Ulfried Haselsteiner

Giorgio Misseri

Patrick Simper

Kristof Klorek

Nazareni

Riccardo Botta

Roman Ialcic

Soldati

Jakob Zethner

Бас

Vito Maria Brunetti

Каппадокиец

Martina Bortolotti von Haderburg

Раб

Дирижер

Niksa Bareza

Режиссер-постановщик

Manfred Schweigkofler

Художник-постановщик

Walter Schütze

Художник по костюмам

Kathrin Dorigo

Художник по свету

Claudio Schmid

Хореограф

Valentina Versino

Fondazione Haydn di Bolzano e Trento

Orchestra

Orchestra Sinfonica Haydn di Bolzano e Trento

Salome -  (Саломея)

Больцано

Италия

Teatro Comunale

Sala Grande

Salome Strauss,R

Одобрено

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

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