SALOME by Richard Strauss from The Opéra de Montréal

YANNICK NÉZET-SÉGUIN CONDUCTS HIS FIRST SALOME

SING FOR ME, SALOME!

The Opéra de Montréal's 31st season continues with one of the most enduring works in the 20th century opera repertoire: Salome by Richard Strauss. Performances on March 19, 23, 26, 28, and 31, 2011 at 8 pm, in Salle Wilfrid Pelletier at Place des Arts. Bringing to life all the colours of this dazzling score is one of today's most outstanding conductors, Yannick Nézet-Séguin, who will be conducting this work for the very first time in his career. After triumphing on podiums in Europe and America, from the Salzburg Festival to the Metropolitan in New York, the "prodigy" returns to the Opéra de Montréal, leading "his" Orchestre Métropolitain. An Opera Theatre of St. Louis ‟ San Francisco Opera ‟ Opéra de Montréal co-production.

Portraying the cruel princess Salome is a specialist in the role, Nicola Beller Carbone, who has performed Salome on several major European stages. While in the past certain divas called for a stand-in to perform the mythical "dance of the seven veils," Nicola Beller Carbone uses her impeccable physique to great advantage and fully takes on the role! Alongside her, British baritone Robert Hayward makes his company debut in the role of the prophet. Taking on the other main roles are sure-fire stars of the Canadian opera stage: legendary mezzo Judith Forst showcases her extensive experience in the role of the odious Herodias, performing alongside John Mac Master as Herod. Stage director Seán Curran is also a choreographer, a very useful asset for a work such as this, which includes a dance scene that is of capital importance. He will bring the characters to life in sets and costumes by Bruno Schwengl, under Paul Palazzo's lighting.

THE MOST DELERIOUS OF IMPULSES

"But when Herod's birthday came, the daughter of Herodias danced before the company, and she pleased Herod so much that he promised on oath to grant her whatever she might ask. Prompted by her mother, she said, 'Give me the head of John the Baptist here on a platter.'" (Matthew 14: 3-11)

This episode from the Bible, which had inspired one of Gustave Flaubert's Three Tales, also gave Oscar Wilde the idea to write a French play on the subject, which Sarah Bernhardt would premiere in London¼ The event did not take place but Richard Strauss took Wilde's work and set it to a score whose intensity had rarely been equalled in the history of music. To the sound of an orchestra driven to the frenzied peak of its abilities, characters in a trance-like state give in to their wildest impulses.

At the end of the incredible "Dance of the Seven Veils,"†a blend of oriental rhythms and Viennese waltz†Salome, the cruel and seductive spoiled child, finally gets her toy: Jokanaan's head, whose lips she gluttonously kisses. Death is everywhere, on stage and off: the soldier, Narraboth, commits suicide before Salome's indifferent eyes, Jokanaan is decapitated, Salome herself ends up crushed beneath the shields of Herod's soldiers.

A STRIPTEASE AT THE OPERA

At the opera's premiere in Dresden in 1905, the ecstatic audience called the artists out for 38 curtain calls! A "succès de scandale" but a success nonetheless, which was repeated in Berlin, Milan, Turin, and New York†despite the efforts of censors and moralists who tried their best to prohibit such a incendiary work.

The work provoked admiration and perplexity from Strauss's colleagues. French composer Gabriel Fauré spoke of "cruel dissonances that defy all explanation." But singers let themselves be tempted by a chance to portray this Lolita-like character†Salome is supposed to be just 16 years old†with a Wagnerian voice, even though it required them to dance and to make themselves heard over a raging orchestra.

SALOME by Richard Strauss

Salle Wilfrid-Pelletier, Place des Arts

Place des Arts Box Office:

514-842-2112 „ 1-866-842-2112