Lyric Opera's 'Salome' Finds Its True Star: Strauss' Score
Richard Strauss's "Salome" is a notorious opera that has left audiences shocked and disturbed since its debut over 120 years ago. The story, based on Oscar Wilde's play and the New Testament account of King Herod's promise to his stepdaughter Salome in exchange for her dance, is a twisted tale of moral depravity and tragedy.
But despite the problematic elements of the libretto, it's the music that truly makes "Salome" shine. Strauss's score is an extraordinary work of art that brings complexity and depth to this gritty tale. The music can be eerily tender and unexpectedly uplifting at times, but its jagged edges, blunt dissonances, extended harmonies, and ominous rumblings are what truly bring the opera to life.
The Lyric Opera Orchestra, augmented to 94 musicians for this production, played masterfully under the fervent leadership of conductor Tomáš Netopil. The real star of this opera is indeed Strauss's score, which shines with its unique blend of beauty and darkness.
Soprano Jennifer Holloway gave a solid performance in the title role, but struggled to convey the princess's teenage youthfulness. Her aria with the severed head was chilling, but could have used more maniacal glee. Bass-baritone Nicholas Brownlee, making his Lyric debut as John the Baptist/Jochanaan, was a complete natural on stage with his gripping presence and stentorian pronouncements.
However, it's the supporting cast that truly brings out the best in Strauss's score. Tenor Alex Boyer potently conveyed the revolting fecklessness and egomania of Herod. The Lyric Opera Orchestra played masterfully under Netopil's leadership, bringing out the full range of emotions in this complex work.
Despite some questionable creative choices in the production, it's clear that the true star of "Salome" is Strauss's extraordinary score. It's a work of genius that will leave audiences on the edge of their seats and lingering long after the curtain falls.
Richard Strauss's "Salome" is a notorious opera that has left audiences shocked and disturbed since its debut over 120 years ago. The story, based on Oscar Wilde's play and the New Testament account of King Herod's promise to his stepdaughter Salome in exchange for her dance, is a twisted tale of moral depravity and tragedy.
But despite the problematic elements of the libretto, it's the music that truly makes "Salome" shine. Strauss's score is an extraordinary work of art that brings complexity and depth to this gritty tale. The music can be eerily tender and unexpectedly uplifting at times, but its jagged edges, blunt dissonances, extended harmonies, and ominous rumblings are what truly bring the opera to life.
The Lyric Opera Orchestra, augmented to 94 musicians for this production, played masterfully under the fervent leadership of conductor Tomáš Netopil. The real star of this opera is indeed Strauss's score, which shines with its unique blend of beauty and darkness.
Soprano Jennifer Holloway gave a solid performance in the title role, but struggled to convey the princess's teenage youthfulness. Her aria with the severed head was chilling, but could have used more maniacal glee. Bass-baritone Nicholas Brownlee, making his Lyric debut as John the Baptist/Jochanaan, was a complete natural on stage with his gripping presence and stentorian pronouncements.
However, it's the supporting cast that truly brings out the best in Strauss's score. Tenor Alex Boyer potently conveyed the revolting fecklessness and egomania of Herod. The Lyric Opera Orchestra played masterfully under Netopil's leadership, bringing out the full range of emotions in this complex work.
Despite some questionable creative choices in the production, it's clear that the true star of "Salome" is Strauss's extraordinary score. It's a work of genius that will leave audiences on the edge of their seats and lingering long after the curtain falls.
. The music, oh man... it's like Richard Strauss tapped into some dark, twisted soul of his own 
. I mean, sure, the story's got its issues ( problematic elements and all that), but that score is where it really shines 
. It's like a rollercoaster of emotions - one minute you're feeling this tender, vulnerable vibe 
, next you're hit with these jagged dissonances that just pull you under 
. The supporting cast was on point too... Alex Boyer as Herod? Absolutely deliciously despicable 
. Overall, it's a wild ride of emotions and I'm still reeling from it 
.
]
]
]
]
]
It's like, I get it, "Salome" is all about the twisted drama and whatnot, but honestly, that music is what makes me wanna go back for seconds. Like, I'm not even kidding, I had chills during those parts where John the Baptist/Jochanaan was being his dramatic bass-baritone self 
. And don't even get me started on Strauss's score - it's like he knew exactly how to balance out all that drama and make it sound... well, actually, what it sounds like is just genius-level greatness 
. The orchestra did a great job, no doubt about it! 
that tenor alex boyer as herod tho 
but i feel like they could've gone with a different set design, it was kinda...much 
anyway, gotta give props to netopil for bringing out the best in strauss's score 
... his performance was like watching a train wreck - you don't want to look, but you can't help yourself 
. anyway, the real MVP is strauss's score, duh! it's like he knew exactly how to make me feel all the feels 
. still, if you're a fan of opera or just great music in general, you need to check out 'salome' ASAP 
. I mean, just because it's been playing for 120 years doesn't mean it's inherently better than anything new that comes out today 
. Give me some good ol' fashioned acoustic guitar or piano any day 
. I mean, who else could make an entire opera about a teenager's descent into madness sound both gorgeous and terrifying? 
The way the orchestra brought it all to life under conductor Tomáš Netopil was pure magic 
. And let's be real, Jennifer Holloway's performance as Salome had some great moments, even if she didn't quite nail that whole "teenage angst" vibe 
. But honestly, the supporting cast and Strauss's score were where it was at. The way the music swelled and dropped was like a masterclass in emotional manipulation 
! The supporting cast wasn't bad either, Alex Boyer brought so much energy to Herod... all in all, it was an epic night out at the opera 
.
. Overall, if you haven't seen 'Salome' yet, DO IT ASAP 
Where's the plot twist there? Anyway, I did love the weirdness of Strauss's score though, it's like he took all these different emotions and mashed them together into this beautiful mess. 