Salome, quarantined

Need to Know

* Rated R. Some material may not be suitable for children. Violent death, nudity, and sexuality.*

Salome was Richard Strauss’ first successful opera in 1905 and is based on Oscar Wilde’s play.

From the opening line, “How beautiful Princess Salome is tonight!” The opera dives into the realm of sexual obsession, and the tension only builds from that moment to the end.

There are many variations of the Salome story, and most of the biblical references don’t even name her, but rather refer to her as the daughter of Herodias. Wilde’s play is crafted from many different parts of the Bible, using his own free verse as well as literal passages. Strauss stayed true to the playwrights style, using repetitive musical motives and repeated text to create this mood of obsession as well as eerily reminiscent of biblical language. Here is a great article about the Biblical Influences on Oscar Wilde’s Salome.

Read more about Richard Strauss from Florentine Opera’s Quarantine page of Ariadne auf Naxos.

Dive deeper into the story and its history with this article by Classical Notes.

Here is another great Opera Guide with musical and plot break down scene by scene from Opera inside.

Scandalous, Obscene!

Salome triumphed in spite of, or perhaps because of, the scandal and shock it caused. Victorian society, (think any Jane Austen book) was not ready for this opera. Read from Wisconsin Public Radio about the Scandalous Salome.

Here is another fun read about the scandalous first performances of Salome from Opera News.

So many leitmotifs

A leitmotif is a recurring musical phrase that is associated with specific characters, moods, or other dramatic themes. It was made most popular with the works of Richard Wagner.

Strauss’ Salome is a masterclass in the use of leitmotifs, each character has their own specific motive as do some of their motivations. Salome’s motive as well as her obsession motive are very chromatic in sound and are in direct contrast with John the Baptist’s motive, which is very tonal.

Here is a great article from Opera Music History that talks about Salome and gives score examples of the characters leitmotifs.

Casting nightmare

It’s true, casting the title role for Salome is not easy. The role calls for a dramatic soprano, think Isolde or Turandot, but she should also appear to be a young woman. The voice needs to be strong enough to sing over a 110 piece orchestra (Strauss’ original setting) and have a range from B5 (B just below a Soprano’s high C) to Gflat3 (in the octave below middle C). While this range is similar to a mezzo soprano, because of the role’s hight tessitura, it needs to be done by a soprano. To add to the challenge, the soprano should also have the agility and gracefulliness of a prima ballerina to perform the “Dance of the Seven Veils”.

Some of the great sopranos to take on this challenge include, Marie Wittich (Premiere), Birgit Nilsson, Montserrat Caballé, Teresa Stratas (film version), Maria Ewing, and Karita Mattila.

The Dance

“Tanz der sieben Schleier” (Dance of the Seven Veils) is one of the most iconic moments in Salome. Because of the dance’s challenging demands and the opera moving into an incredibly difficult scene right after, many sopranos have refused to perform the dance and a dancer replaces her for this scene. Occasionally a singer does do the dance, below is a clip of Maria Ewing performing the dance.

* Please note, this clip may not be suitable for all audiences. Watch Maria Ewing perform the “Dance of the Seven Veils”

Bring me the Head of John the Baptist!

Ok, we’ll settle for a strong cocktail instead! In honor of Strauss’ Salome, your quarantine cocktail is a “Salome Cocktail”. Watch John make it here.

Ingredients: 1 1/2 oz Gin, 3/4 oz Dry Vermouth, 3/4 oz Sweet Vermouth, 2 dashes of Orange Bitters, Citrus peel for garnish.

Directions: Add Gin, both Vermouths, and bitters to a mixing vessel and stir with ice, Strain into a coupe or martini glass and garnish with Citrus peel. Enjoy!

Synopsis

Cliff Notes:

At King Herod’s palace, the beautiful and lusted after Salome becomes obsessed with the prophet John the Baptist who is being held captive by Herod. She asks to touch the prophet’s hair, his skin, and finally his lips, but he rejects her and leaves to his cell. King Herod asks Salome to dance for him and in return, he will give her anything she desires. Salome confirms that Herod will keep his word and then dances the dance of the seven veils, removing all her clothes for the king. Herod, pleased with her dance, asks Salome what she desires in return and she responds that she would like the head of John the Baptist on a silver platter. Herod is mortified and tries to offer anything else in the world, but ultimately sends the executioner to the prophet’s cell and makes good on his promise. Upon receiving her prize, Salome address the prophet as if he were still alive and kisses the severed head. Terrified at the scene, Herod orders Salome’s death.

Here is a fun clip from Dallas Opera with the plot of Salome.