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Romeo Castellucci swept Strauss's opera from the princess beheading the Prophet against grain. He sings a magnificent performer.
Stefan Dosch
The case seems clear. Salome, it is the perverted Judean princess, the erotic and greedy child-woman who denies John the Baptist, who refuses his advances, with the vindication of the rejected, so that the bloody head is served on a tray. A pathological case of horrible lasciviousness.
A case for Romeo Castellucci. The director, scenographer, costume designer, Italian director is known to have always staged his productions in the usual expectation, to dismiss any cliché. Of course, he fulfills this expectation with remarkable consistency, and he does it again at the Salzburg Festival with Richard Strauss's "Salome", the second musical creation of this summer
Castellucci is a director who does not want to know anything about l & # 39; action. this includes illustrative updates or historical parallels). The scenic worlds he builds are of a purely badociative nature, but by no means arbitrarily designed – Castellucci's pictorial solutions are all derived from the expanded meanings of the works he has worked on. This is not always what you see immediately to decipher right away. It seems strange, disturbing; and yet you feel the lines of contact that vibrate towards the problematic, the essence of theatrical events.
No cliche Salome and no frivolous precocity
No cliche Salome, no frivolous precocity. The princess at the court of her father-in-law Herod is buttoned in her white dress. But above all: His looks, his movements – Asmik Grigorian succeeds these fabulous clues – leave the track to the suspicion that must have occurred in this young life, something like "horrible", which is in this opera all along, The men at court are all dressed in black in the greatest contrast possible – the real Biblical events play at Castellucci in an indeterminate modernity – and as bandits who make themselves unrecognizable behind clothes, in all these men, the lower half of the face is bright red.
The blood probably sticks to this silent cartel (to which belongs the mother of Salome Herodias), and the indescribable wall is firmly anchored, as shown in the arches of the Felsenreitschule Salzburg, thus filling the backdrop of the scene. Castellucci only refers to everything, to external violence and to internal infirmity. What makes Herod's greed to graze Salome's body with this woman's soul? The staging refuses the famous dance of the veil – as shown later the severed head of prophet – and yet we see at this stage Salome, for the first time, almost without sheath, gagged on a podium with the inscription "Pierre". A petrified human being – what a powerful image that can easily fill the void of the costume veil
For a few moments a living stallion trots on the stage
A moment ago, of course, when the staging begins shortly to the mane-show. That Jochanaan (John of the opera), who, even though he comes out of the cistern, fascinatingly recognizable only as diagrams, is therefore unknowable in his strange prophecies for Salome, that this Jochanaan therefore has an animalistic attraction obvious to the princess, the Castellucci actually shows that he trots a live stallion for a few moments through the tank depression turn. What should the brave animal do to the wild orchestra leader Franz Welser-Möst Aug in the midst of Strauss's orchestral drama?
This Welser-Möst can not compete with the Vienna Philharmonic Orchestra, Strauss Orchestra par excellence, get really noisy without getting into the drone. How, after all, all this monster partition, so easy to foam in other hands, is with this driver of a rare and soothing care in the formation of sound, with all the space for details and values. No, a sound orgy is not this "Salome", and in this shot Welser-Möst comes to meet his director arrow. As for the singers, we can be satisfied beyond the title role. Gábor Bretz as Jochanaan has the persuasive power of martyrdom, John Daszak gives Herodes a direct low, Anna Maria Chiuri launches poisonous vocal advice like soured Herodias, and Julian Prégardian's Narraboth consumes the search for tenorse of the mortal princess.
One, when Salome slips into blatant desire for violence
Asmik Grigorian was the Mary in the "Wozzeck" last year in Salzburg, now she is Salome. Not only does the Lithuanian soprano have the strength and agility for that, in every sense of the extreme game, she also has the juvenile core essential to a convincing Salome. In the high and high moments of the highest renunciation, she can always win in dark colors. But how is it at each repetition of his "I want to give Jochanaan's head" to the voice a round of increasing psychic hardening. Extraordinarily also the performance of the actor. It is frosty to observe Asmik Grigorian, as in his Salome, the retaining varnish breaks down and the childish pleasure slips into the flagrant desire for violence.
Rightly a storm of applause at the end of this case study of bravery
3sat sends a recording of "Salome" at 8:15 pm on August 11th.
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