Richard Strauss: Salome, Op. 54

Introduction

 Salome, Op. 54, is an opera in one act by Richard Strauss to a German libretto by the composer, based on Hedwig Lachmann's German translation of the French play Salomé by Oscar Wilde. Strauss dedicated the opera to his friend Sir Edgar Speyer.

The opera is famous (at the time of its premiere, infamous) for its "Dance of the Seven Veils". The final scene is frequently heard as a concert-piece for dramatic sopranos.

Composition history

Oscar Wilde originally wrote his Salomé in French. Strauss saw the play in Lachmann's version and immediately set to work on an opera. The play's formal structure was well-suited to musical adaptation. Wilde himself described Salomé as containing "refrains whose recurring motifs make it so like a piece of music and bind it together as a ballad".^[2]

Strauss composed the opera in German, and that is the version that has become widely known. In 1907, Strauss made an alternate version in French (the language of the original Oscar Wilde play), in which language there is a history of its being presented. The world's most famous proponent of the role, Mary Garden, sang the opera in New York, Chicago, Milwaukee, Paris, and other cities in that language. Soprano Marjorie Lawrence sang the role in both French (for Paris) and German (for the Metropolitan Opera, New York) in the 1930s. This version is much less well known today, although it was revived in Lyon in 1990,^[3] performances of which were recorded by Kent Nagano with Karen Huffstodt in the title role and José van Dam as Jochanaan. In 2011, the French version was staged by Liège Opera, starring June Anderson.

Performance history

The combination of the Christian biblical theme, the erotic and the murderous, which so attracted Wilde to the tale, shocked opera audiences from its first appearance. Some of the original performers were very reluctant to handle the material as written and the Salome, Marie Wittich, "refused to perform the 'Dance of the Seven Veils'", thus creating a situation where a dancer stood in for her. This precedent has been largely followed, one early notable exception being that of Aino Ackté, whom Strauss himself dubbed "the one and only Salome".

It was first performed at the Hofoper in Dresden on 9 December 1905, and within two years, it had been given in 50 other opera houses.

Gustav Mahler could not gain the consent of the Vienna censor to have it performed, therefore it was not given at the Vienna State Opera until 1918. The Austrian premiere was given at the Graz Opera in 1906 under the composer, with Arnold Schoenberg, Giacomo Puccini, Alban Berg, and Gustav Mahler in the audience.

Salome was banned in London by the Lord Chamberlain's office until 1907. When it was given its premiere performance at Covent Garden in London under Thomas Beecham on 8 December 1910, it was modified, much to Beecham's annoyance and later amusement. In New York, the premiere took place on 22 January 1907 after which, under pressure from wealthy patrons, "further performances were cancelled." These patrons entreated the visiting Edward Elgar to lead the objections to the work, but he refused point-blank, stating that Strauss was "the greatest genius of the age".

In 1930, Strauss took part in a festival of his music at the Théâtre des Champs-Élysées, and conducted Salome on 5 November in a version with a slightly reduced orchestration (dictated by the size of the pit).

Today, Salome is a well-established part of the operatic repertoire; there are numerous recordings.

Roles

Synopsis

A great terrace in the Palace of Herod, set above the banqueting hall. Some soldiers are leaning over the balcony. To the right there is a gigantic staircase, to the left, at the back, an old cistern surrounded by a wall of green bronze. The moon is shining very brightly.

Narraboth gazes from a terrace in Herod's palace into the banquet hall at the beautiful Princess Salome; he is in love with her, and apotheosizes her, much to the disgusted fearfulness of the Page of Herodias. The voice of the Prophet Jochanaan is heard from his prison in the palace cistern; Herod fears him and has ordered that no one should contact him, including Jerusalem's High Priest.

Tired of the feast and its guests, Salome flees to the terrace. When she hears Jochanaan cursing her mother (Herodias), Salome's curiosity is piqued. The palace guards will not honor her petulant orders to fetch Jochanaan for her, so she teasingly works on Narraboth to bring Jochanaan before her. Despite the orders he has received from Herod, Narraboth finally gives in after she promises to smile at him.

Jochanaan emerges from the cistern and shouts prophecies regarding Herod and Herodias that no one understands, except Salome when the Prophet refers to her mother. Upon seeing Jochanaan, Salome is filled with an overwhelming desire for him, praising his white skin and asking to touch it, but he rejects her. She then praises his black hair, again asking to touch it, but is rejected once more. She finally begs for a kiss from Jochanaan's lips, and Narraboth, who cannot bear to hear this, kills himself. As Jochanaan is returned to the well, he preaches salvation through the Messiah.

Herod enters, followed by his wife and court. He slips in Narraboth's blood and starts hallucinating. He hears the beating of wings. Despite Herodias' objections, Herod stares lustfully at Salome, who rejects him. Jochanaan harasses Herodias from the well, calling her incestuous marriage to Herod sinful. She demands that Herod silence him. Herod refuses, and she mocks his fear. Five Jews argue concerning the nature of God. Two Nazarenes tell of Christ's miracles; at one point they bring up the raising of Jairus' daughter from the dead, which Herod finds frightening.

Herod asks for Salome to eat with him, drink with him; indolently, she twice refuses, saying she is not hungry or thirsty. Herod then begs Salome to dance for him, Tanz für mich, Salome, though her mother objects. He promises to reward her with her heart's desire – even if it were one half of his kingdom.

After Salome inquires into his promise, and he swears to honor it, she prepares for the "Dance of the Seven Veils". This dance, very oriental in orchestration, has her slowly removing her seven veils, until she lies naked at his feet. Salome then demands the head of the prophet on a silver platter. Her mother cackles in pleasure. Herod tries to dissuade her with offers of jewels, peacocks, and the sacred veil of the Temple. Salome remains firm in her demand for Jochanaan's head, forcing Herod to accede to her demands. After a desperate monologue by Salome, an executioner emerges from the well and delivers the severed head as she requested.

In a revolting display, Salome now declares her love for the severed head, caressing it and kissing the prophet's dead lips passionately. Horrified, Herod orders his soldiers, "Kill that woman!" They rush forward and crush Salome under their shields.

Instrumentation

Strauss scored Salome for the following large orchestra:

• Woodwinds: piccolo, 3 flutes, 2 oboes, English horn, heckelphone, E-flat clarinet, 2 clarinets in B-flat, 2 clarinets in A, bass clarinet, 3 bassoons, contrabassoon
• Brass: 6 horns in F, 4 trumpets, 4 trombones, tuba
• Percussion (8–9 players): 5 timpani, snare drum, bass drum, cymbals, triangle, tam-tam, tambourine, castanets, glockenspiel, xylophone
• Keyboards: celesta, harmonium (offstage), organ (offstage)
• double basses, 8 violoncellos, 10 violas II, 10–12 violins I, 16 violins, 16 harps: 2 Strings