June 7 & 9, 2024
Jones Hall
Houston, Texas – USA
Houston Symphony, Juraj Valčuha, conductor. Cast: Jennifer Holloway (Salome), Mark S. Doss (Jochanaan), John Daszak (Herodes), Linda Watson (Herodias), Issachah Savage (Narraboth), Hannah Ludwig (Page of Herodias), Bille Bruley (First Jew), Rafael Moras (Second Jew), Marc Molomot (Third Jew), Christopher Bozeka (Fourth Jew), Joseph Barron (Fifth Jew), Daniel Scofield (First Nazarene/Cappadocian), Navasard Hakobyan (Second Nazarene), Matthew Anchel (First Soldier), Andrew Potter (Second Soldier), Meryl Dominguez (Slave). Creative: Adam Larsen, creative director; Molly Irelan, costume designer; James Maloof, scenic designer; Erin Earle Fleming, assistant lighting designer; Jim French, lighting designer; Kathryn Eader, lighting designer.
Richard STRAUSS: Salome, Op. 54
Lawrence Wheeler | 8 JUN 2024
Friday evening at Jones Hall, music director Juraj Valčuha and the Houston Symphony presented the biggest concert production in the orchestra’s history: “Salome” In Concert. A multimedia event led by creative director Adam Larsen, the performance included scenic projections, stylized costumes, theatrical lighting, and custom-built design and staging elements for an immersive experience. That experience began the moment you entered the hall, which was dimly lit, including the stage where the assembled musicians had stand lights. Along the walls surrounding the stage, shallow sets had lights projected on and behind them, which could change color and design throughout the opera. There were platforms in the back corners and another that ran through the orchestra stage right, allowing the singers to move throughout the performance, which was as close to opera as you can get without a pit.
“Salome” the play is a one-act tragedy by Oscar Wilde. Written in 1891, Salome was first published in French in 1893 and produced in Paris in 1896. Based on the play, Richard Strauss wrote the eponymous opera in 1905, and it premiered in Dresden six months later that year. His first operatic success, Salome is a Strauss tone poem with words. From the very beginning, the combination of Christian biblical themes with the erotic and the murderous has shocked yet enraptured opera audiences. The Vienna censor did not give consent until 1918, and it was banned in Britain for 35 years due to its depiction of biblical characters. Houston Symphony patrons are warned: “Salome contains violence, sexual content, and negative depictions of people and cultures, and is not suitable for all audiences.”
The story takes place in Judea shortly before the crucifixion of Jesus. Herodes Antipas, the Tetrarch of Judea, has married Herodias, the wife of his half-brother. Considered illegal, this caused moral outrage among the Jewish community and a public rebuke by the prophet John the Baptist (Jochanaan), who was sent to confinement in a cistern. Salome, the daughter of Herodias, has caught the stare of Narraboth, captain of the guard, and convinced him to allow her to see the imprisoned Jochanaan. Attracted at first to his voice from inside the cistern, upon seeing him, Salome objectified Jochannon by admiring his hair and skin and repeatedly begging to kiss his mouth. All attempts to attract him failed. Herod had noticed and fixed his lustful gaze on Salome, who used his attention to her advantage through her dance. History has demonstrated exploitation and manipulation are not constrained by time. While the incestuous implications were deemed unacceptable two thousand years ago, we can hear powerful political figures today making sexually suggestive comments about their offspring.
There were a total of sixteen singers, with all but three making their Houston Symphony debut. The first to sing was tenor Issachah Savage in the role of Narraboth, the captain of the guard. With an ornate costume draped over his imposing figure, Savage filled the hall with power and richness worthy of a baritone. His relatively short role, cut short by a desperate self-inflicted knife wound, left this reviewer wanting to hear more. Mezzo-soprano Hannah Ludwig was lovely sounding as the page of Herodias. Basses Matthew Anchel and Andrew Potter were worthy additions in the opening Banquet-Scene.
Baritone Mark S. Doss was compelling as Jochanaan (John the Baptist). Originally appearing in the left rear corner of the stage, that position was less favorable for projection but totally appropriate for his imprisonment in a cistern. His staged movement to the proscenium gave a clearer picture of the expressive quality of his voice, but his greatest attribute was his acting. Famous for his portrayal of John the Baptist, he was convincing as the fervently religious and chaste prophet. Doss has a replica of his own head that he carries with him when singing this role, as was the case this evening.
Tenor John Daszak brought lustfulness, fearfulness, and humor to his role as Herodes. Singing with a bright-timbered voice, he skillfully conveyed his perverted attraction to the youthful Salome, his apprehension about the righteous Jochanaan, and his comical insecurities with his wife, Herodias.
Wearing a spectacular glittering two-toned costume, mezzo-soprano Linda Watson presented an imposing figure as Herodias. The driving force behind Salome’s abhorrent and aberrant behavior (both personally and biologically) was that she insulted and taunted Herodes. Watson’s strong voice and character portrayal projected well.
Soprano Jennifer Holloway stole the show in her title role as Salome. Vocally one of the most demanding in opera, it is equally challenging from a dramatic standpoint. Holloway provided her own immersive experience with stunning singing and compelling acting. Her portrayal shows Salome beginning as a curious, somewhat naïve young girl who eventually transforms into a manipulative and tragic character, driven mad by an overly permissive mother and inappropriate sexualization from her stepfather. She effectively conveyed the sense of sexual power that came from the attentions of Narraboth and Herodes. Salome’s infamous dance was erotically suggestive as she teasingly removed seven silk squares but ended fully clothed. In the final scene, her caressing and kissing of the severed head of Jochanaan was disturbing. Here, she used a dramatic and hall-filling tone enhanced by a powerful vibrato as she descended into madness. The effect was at once chilling and thrilling.
As befits the music of one of the greatest orchestrators, the star feature of the evening was the Houston Symphony. Conductor Juraj Valčuha led an energetic, unified, and remarkably well-balanced performance. Having the orchestra onstage gave greater clarity and range of tone color than usual. Beginning with the very first notes in the clarinet (played with Rhapsody-in-Blue freedom by Mark Nuccio), attention to detail was the order of the evening. Powerful brass and richly colored French horns contributed to a hall-filling volume. The solo woodwinds illuminated the leitmotivs (leading motives) with expression and color. The strings provided brilliance and warmth. The violas gave a ferocious opening to the Dance of Seven Vails, followed by a rhythmically incisive solo by principal Joan DerHovsepian. The culmination was the famous dissonant chord 16 bars from the end, which Valčuha artistically emphasized. It was an exhausting and rewarding team effort. This level of performance does not happen without a ton of preparation and hard work, along with deep commitment in equal parts by conductor and orchestra.
This concert is the featured event for the League of American Orchestras Conference held this week in Houston. Along with the Houston audience, those important and knowledgeable visitors were treated to a spectacular production with world-class singers and a fabulous-sounding Houston Symphony. ■
The Houston Symphony will repeat the program at 7:00pm on Sunday, June 9, at Jones Hall.
EXTERNAL LINKS:
- Houston Symphony: houstonsymphony.org/
- Juraj Valčuha: jurajvalcuha.com
- Jennifer Holloway: jennholloway.com/
- John Dazak: harrisonparrott.com/artists/john-daszak
- Mark S. Doss: marksdoss.com/
- Linda Watson: lindawatson.net
- Issachah Savage: issachahsavage.com
Read more by Lawrence Wheeler.
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