The Herodes and Herodias team was also excellent. Michael Hendrick’s tenor’s gamut ranges from the buffoonesque to the fully powerful and dramatic.
“Salome.” Musical drama by Richard Strauss in one act based on Oscar Wilde’s poem of the same name.\
Musical direction: Ari Rasilainen – Production and Stage Director: Michiel Dijkema – Costumes: Tatjana Ivschina – Lights: Nikolaus Vögele – Choreography: Matthew Tusa – Photos: Uwe Stratmann
Cast: Herodes (Michael Hendrick) – Herodias (Dubravka Mušović) –Salome (Cristina Baggio) – Jochanaan (Thomas Ghazeli) – Narraboth (Emilio Pons) – Cappadocier (Jan Szurgot) – Soldaten (Falko Hönisch, Peter Paul) – Juden (Noriyuki Sawabu, Johannes Grau, Markus Murke, Kalle Kanttila, Peter Paul) – Nazarener (Greg Ryerson, Ferdinand Junghänel) – Page (Lucie Ceralová) – Sklave (Laura Demjan) – Statisterie – Sinfonieorchester Wuppertal – AuffĂĽhrung in deutscher Sprache mit Ăśbertiteln.
Strong voices
The prophet Jokanaan, whom Richard Strauss portrays in his “Salome,” is an awe-inspiring figure. Especially when a singer like Thomas Ghazeli embodies him. With a voluminous baritone and almost overly clear articulation, he announces Jochanaan’s messages in the current Wuppertal production of “Salome”: The Messiah is here. Salvation is near. Because of these slogans, King Herod had the prophet imprisoned.
Salome is not afraid of God’s mouthpiece. Even before she sees Jokanaan, she falls in love with his voice, which sounds like “mysterious music” to her ears. Soprano Cristina Baggio is Ghazeli’s equal. She masters the challenges of her role – the sloping runs down to the alto, the fine transitions between singing and speaking voice, the dissonances fluctuating between two keys.
Haunting images
In addition to the strong voices come the haunting images. Director Michiel Dijkema discovers two complex, contradictory characters behind the contrast between Jokanaan’s chastity and Salome’s awakening sexuality. Ghazelis Jochanaan cannot escape the little princess who does everything to win him over. Baggio, however, embodies a Salome who radically rejects Herod and his courtly fun company.
So the encounter between prophet and princess does not turn into a showdown in the great battle of the sexes, but rather unites the antagonists in an embrace. Their vocal lines intertwine elegantly and nothing seems to stand in the way of a classic love duet. But suddenly the orchestra rushes in when he can free himself from her arms: “You are cursed, Salome!”
Dance for the Golden Calf
But Salome’s dance is unique. It even surpasses the finale, when Salome triumphs over Jokanaan (“Your head belongs to me!”). Because choreographer Matthew Tusa not only stages Salome as usual. With her flowing movements, Cristina Baggio seduces not only Herod, but the entire opera ensemble. Little by little everyone – soldiers, court, Jews, Nazarenes – begins to dance. They surround Salome like the golden calf and fall to their knees.
The pale moon that had previously illuminated Dijkema’s stylized desert landscape gives way to daylight. Not Jokanaan, but Salome acts revolutionary. She rips off her mother’s expensive clothes and overturns her stepfather’s throne.
This “Salome” sparkles
This Wuppertal “Salome” shines so brightly because, in addition to the main actors, the singers and the supporting roles – such as tenor Emilio Pons as Narraboth and alto Lucie Ceralová as the page – are well cast. The team of Herod and Herodias is also excellent. Tenor Michael Hendrick has a buffalo-light to powerfully dramatic voice range. Dubravka Mušović’s mezzo-soprano also shows a wide range, including harsh metallic coloratura.
Ari Rasilainen, conductor of the opening evening, and the Wuppertal Symphony Orchestra translated Strauss’ score into powerful, sparkling sounds. The six percussionists in particular played with drive and impressive precision.
Further information at: www.wuppertaler-buehnen.de
http://www.musenblaetter.de/artikel.php?aid=16054
Daniel Diekhans
Musenblätter