Salome is not like those gay Italian (soap) operas, nor those dramatic Wagnerian pieces. A short 1 hour and 40 minutes, this Biblical tragedy told in a Modern way has a minimalist score that evokes a single consciousness, Salome’s. Salome dances for Herod to obtain Joachanon’s head on a silver platter.
Salome as a character really came through in this production, as the soprano Karita Mattila infused her gesture with a childish impatience and a spoiled teenager’s
demanding attitude. Altogether, an interesting and odd piece, maybe a bit limited in scope. It becomes whatever the soprano can make of it, most likely. An fascinating story psycholigically and one containing great extremes, it lends itself to opera.
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Let me just say for my part–I had been up since 5 AM. I wanted to listen to every second, but–to the amusement of my boyfriend–I did not catch some of the middle. I was, however, completely awake when Salome was singing to the head. That part held some of the most beautiful moments, if a little twisted due to the perversity of the plot. Overall, Wilde would have appreciated the modern and functional stage design.
Nitpicks:
- The black-winged creatures on the far right of the stage were a little hokey.
- Opera singers are not burlesque dancers. Although I imagine that Mattila’s young and energetic performance would bedazzle most, and the flash of full nudity w
as nicely done, it was the clumsiest striptease I’ve ever seen. The only one I’ve ever seen to Strauss though.
- The Dance of the Seven Veils is not a misnomer. Use veils!
- The end, where Herod orders Salome’s execution, was underwhelming. I was hoping she would be rushed by the black monkey creatures, like in The Wizard of Oz.
Overall, I love going to the Met. It feels like such an event every time. I liked, but did not love, Salome.