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Salome, the sick creature «

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Richard Saluss, from Strauss, suffers from the director's theater conventions in Graz, but the masterpiece is not so easy to kill.

of Martin Gasser | 06:05, November 12, 2018

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Johanni van Oostrum is a strong Salomé © (c) Werner Kmetitsch / Kleine Zeitung

Disturbance and disturbance, sexual obsessions, a childlike woman as the desire of the stepfather and a prophet who is beheaded. For Richard Strauss, the model of "Salome" by Oscar Wilde provided the opportunity to reflect the decadence of the End of Sècle in a biblical story. Director Florentine Klepper willingly accepts the cut. Although it transfers the event to a modern design town, perversion and power are intertwined in a well-known and sometimes topical way. Morally disorganized, cruelly alienated from his own emotional world is Salome, a manically solved girl, the sick creature of a sick environment, the sexual desires of the evil Herod leader and the hatred of Herodias. Neither the wings of the angel of death can dispel the stench of this sin.

Johanni van Oostrum sings this, his first Salome complex, with a warm and full soprano, which does not rule out the lyrical children's role. Something that is far ahead of the many metal steel singers.

Their opponents are staged problematically. Manuel von Senden as Herodes gives a mockery, leader of the imaginary band. The fact that Strauss musically characterizes this figure as an average irony for his impulses is almost lost. This is even more regrettable because Manuel von Senden sings a fantastic hero: word by word, rhetorically concise, accurate.

Oostrum with Manuel von Senden Photo © (c) Werner Kmetitsch

In addition, the representation of Jochanaan is questionable. The preacher, whom Strauss places in powerful harmonious foundations, which (almost) transmits infanária his doctrines and exudes a powerful and dogmatic dignity, here he becomes a desperate and abject prisoner whose visions are a straw in the midst of depravity. The game of repulsion and mutual fascination between Salome and Jochanaan, cleverly conceived by Strauss, remains under-exposed. Along with that, Thomas Gazheli uses his magnificent undifferentiated baritone material, not only did the narrative of Jesus groped and grievously. This seems even more funny with the Nazarenes (Neven Crnic, Dariusz Perczak), although director Oksana Lyniv has taken part of the encouragement of these revelation steps. The singing class is Iris Vermillion as Herodias, while Narraboth (well sung) of Pavel Petrov was lost and rigid on the scene. Are you paralyzed with fear or is that simple personal misconduct?

Oksana Lyniv and the Graz Philharmonic need a set-up time. Lyniv turns the volume over the night at times, the casting-stage vote does not always work without problems and the place along with the famous dissonance just before Salome's death seems blurry. But if you play long long distances: in the pure orchestral passages around. Lyniv emphasizes audacity of music, achieves a great deal of intensity and attracts Salome's dance with a safe stroke. The dance is not shown. Klepper installs here a fever dream of video projections, an avalanche of flashbacks and fantasies. The courage of staying was expected even more often.

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