So how’s the Met’s Salome? Guth enough…

First-night review from our occasional contributor Susan Hall:

Claus Guth, the noted European director, debuts at the Metropolitan Opera with Richard Strauss’ Salome. It is an electrifying production, originally created with the Bolshoi Theatre of Moscow.

The set, designed by Etienne Plus, remains the same, though the Bolshoi’s stage is slightly wider and not as high as the Met’s. The grandeur allows for two layers: the dark upper world of Herod’s temple and the spiritually pure, white underworld of Jochanaan, the prophet. A staircase connects these worlds, winding downward, and the symbolism is clear.

Elza van den Heever, a stunning Salome, floats in white during the opening overture, embodying the innocence and seduction of youth. Van den Heever has noted that the role sits lower in her vocal range, with her upper register only fully revealed near the end f the opera. Nonetheless, her execution of every note and phrase is flawless, showcasing her as a consummate singing actress who first captured America’s attention with her performance of Fidelio at Caramoor a decade ago.

Like Hamlet, portrayed as very young by Alex Lawther in Robert Icke’s 2022 adaptation, the teen Salome is in turmoil over Herod, her stepfather, who has usurped her father’s role in the family. Herod, sung by Gerhard Siegel, is as wicked as they come, yet his complex interaction with Salome keeps us riveted. We can’t get enough of their sung tug of war.

The stark black-and-white stage, typical of a Guth production, is dramatically interrupted by Herodias, Salome’s mother, dressed in blood-drenched red. As the story unfolds, Herodias encourages Salome to demand Jochanaan’s head, citing an insult he delivered some twelve years ago. Peter Mattei, in luxury casting as the prophet, embodies purity and divine connection with his glowing white form as he sings of his spiritual desires and destiny.

Michelle DeYoung offers an unusually sympathetic take on Herodias, one who, in siding with her daughter, defies her new husband’s sexual advances to Salome and the threat of violent repercussions. This maternal defiance is rare, reminiscent of the struggles faced by many foster children in the U.S. who experience abuse at the hands of their stepfathers, where mothers often choose to protect their financial security over their children. In this production, Herodias’s bold choice stands as a stark contrast to this troubling reality.

The set is subtly Victorian, and while the production’s themes are universally resonant, a further step into timelessness might have heightened its impact. A standout moment is Salome’s Seven Veils dance, first staged by Guth in Berlin in 2016. Seven young girls dance—each representing a stage in Salome’s early development.
Glorious singing, physicality of performance and perfect pacing make this Salome a must-see at the Metropolitan Opera in New York.
Susan Hall

The post So how’s the Met’s Salome? Guth enough… appeared first on Slippedisc.