SALOME Strauss – Opera Ballet Vlaanderen

Herod lusts after his stepdaughter Salome and insists on seeing her dance. Salome longs to kiss the mouth of the imprisoned John the Baptist – a prophet of doom who loses himself in hate speech.

In Strauss’ ‘scandal opera’, based on the play by enfant terrible Oscar Wilde, all the protagonists selfishly pursue their own fulfilment. Director Ersan Mondtag, who previously created flamboyant productions at Opera Ballet Vlaanderen such as Schreker’s Der Schmied von Gent, focuses on the political thriller in Strauss’ breathtaking work. He sees parallels between the historical Herod, vassal of the Roman Empire, and contemporary dictators such as Belarusian president Aleksandr Lukashenko. Both are completely dependent on a higher power to maintain their rule. However, revolutionary forces are intent on a total destruction of Herod’s declining empire. Alejo Pérez conducts the OBV Symphony Orchestra, in a production acclaimed by audiences and critics alike.

CAST

Salome
Allison Cook

Herodes
Thomas Blondelle

Herodias
Angela Denoke

Jochanaan
Michael Kupfer-Radecky

Narraboth
Denzil Delaere

The Page of Herodias
Linsey Coppens

Jews
Daniel Arnaldos
Hugo Kampschreur
Timothy Veryser
Hyunduk Kim
Marcel Brunner

Nazarenes
Reuben Mbonambi
Leander Carlier

Cappadocian
Reuben Mbonambi

Soldiers
Igor Bakan
Marcel Brunner

Slave
Linsey Coppens

Performers
Sandra Hilaerts
Antonella Fittipaldi
Parisa Madani
Gifty Lartey

Orchestra
Opera Ballet Vlaanderen Symphonic Orchestra

Music
Richard Strauss

Text
Hedwig Lachmann

Conductor
Alejo Pérez

Direction, scenography and costumes
Ersan Mondtag

Lights
Sascha Zauner

Dramaturgy
Till Briegleb

Musical dramaturgy
Piet De Volder

OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme. Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

[მეწამულიბადრიჯანი]

With some debatable moments (guns) & overwhelming sets, though overall a fesh & daring production. Absolutely loved the attempts to reveal each character's motivation: they seamed living people of flesh & blood, indeed (which doesn't happen in opera often). 👍
Many thanks for the chance to see that.

[KASH]

I was almost dreading this as the last productions have been bad at best. What a wonderful surprise! The singing was wonderful and for once the stage production might have been even better. Bravo!

[mickbachner]

If anyone wanted to know why opera tickets are the price they are: Well just look at that fantastic set, costumes, the sheer number of performers on stage and in the orchestra pit, not forgetting the technical staff and all the people you don't see. I for one pay it with a smile and thank my lucky stars each time. Brilliant production, fabulous singing and a nice twist at the end. I loved it!

[lomfidi]

I watched the whole thing riveted. I found it so fantastic that I don't know where to start. Yes, Johanaan. Fell in love with him and his voice. Salome just magnificent. Singing and acting superb. Amazing low notes and I loved getting some of the text from her. Herodes great. Herodias beautiful and Naraboth such a discovery! The whole spectacle a colossal achievement. Aesthetically and musically gratifying. Bravi Tutti

[DM-wjbr]

This is a very emotionally powerful performance.

[BetuliaLiberata]

Omg. I absolutely adore this Salome. It's something so out of the ordinary. Her talents vocally and acting wise are on a level that only one can expect from singers of the past like scotto, verrett, and obviously Callas. I have never seen any other performance alike. SALOME cannot be reduced to only vocal stamina aspect like what Birgit Nielsen is known for. This character DEMANDS a "cantatrice". Allison Cook is phenomenal. I wish she'd sing roles like Lady Macbeth, Minnie in Fanciulla and of course Tosca.

[markbeck]

I loved this. Really good singing. I think I understood Salome's difficult psychology better than in any other production, and I thought her descent into madness was beautifully clear. This was a well-cast and special theatrical experience. Thank you so much.

[josejulioalbertoavilaaguil]

Really loved this production. Amazing sets, really interesting concept, costumes, a very careful acting and great singing. Wow wow wow!
Thanks so much for upload and the chance of watching.
🎉🎉🎉

[alancutler]

What a different production of a great opera. Yet I enjoyed it very much: the singing, staging, and sets.

[Aquaelfie]

Powerful production. And great singing. thank you.

[renata_of_the_craft]

Bravo! I really liked this production. A very interesting concept.

[simonkawasaki]

Really excellent production. The Herod is fantastic, and the Jewish scene is done very, very well.

[badger_beard]

One too many irrelvant set revolves for my liking but what an outstanding Herod. His singing was formidable and never resorted to barking - he made it an exciting watch.

[Altonahh]

How can a director allow the bellboy to let out this constant sobbing during Jochanaan's monologue? Unbelievable. Somebody must really hate this opera.

[paulrevelli]

It's almost like Wes Anderson directed this.

[operaoaf]

A very fresh reimagining of this opera. Some surprising twists. The singers were terrific actors and singers. Tetrach was a particular favorite of mine. The man's singing was spot on and what acting and comedy. The only part that did not work was the dance, which was a bit awkward and scattered (Wasn't Salome trying to seduce? where were the veils?). The conducting was well-paced, subtle yet powerful. Great production!

[garynilsson]

Which notes are she singing? And in what octave?

[javicluster]

¿Por qué matan a Herodes en vez de a Salomé? ¿Cuál es el motivo?
Why do they kill Herodes instead of Salome? What's the reason for the change?

[dallinnelson]

Why does that one guard look just like James Corden?

[AlberichelNegro]

Imagino que el el "regisseur" de turno no pudo resistirse a echar su deyección sobre la ópera de Strauss para, de ese modo, justificar su sueldo e intentar pasar a la posteridad. Así es que decidió cambiar el espectacular y terrible final original de Oscar Wilde por una genialidad suya: el empoderamiento de las féminas, supongo.