[EXTRAIT] SALOME by Richard Strauss (Lise Davidsen - "Es ist kein laut zu vernehmen")

Рет қаралды 4,268

Ай бұрын

Salome, du 09 au 28 mai 2024 à l'Opéra Bastille
Informations et réservations sur www.operadeparis.fr/saison-23...
Quand le roi Hérode promet à sa belle-fille Salomé, princesse de Judée, ce qu’elle voudra en échange d’une danse, il est loin de se douter qu’elle demandera… la tête du prophète Jochanaan (Jean le Baptiste), pire, qu’elle en embrassera la bouche.
Si l’histoire de Salomé remonte aux Évangiles, c’est la tragédie d’Oscar Wilde, écrite en 1891, qui donne au mythe toute sa puissance en mêlant étroitement sexualité et religion, désir et mort, obsession et décadence.
Le troisième opéra de Richard Strauss garde les contours sulfureux de la pièce en y ajoutant une musique vocale et orchestrale d’une grande modernité, provoquant le scandale lors de sa création à Dresde en 1905.
Comment restituer aujourd’hui la force dérangeante de cette œuvre intense et sensuelle ? En plaçant Salomé dans un futur proche où la mort et le sexe sont banalisés, Lydia Steier livre une vision radicale qui renouvelle profondément le personnage et nous invite à questionner nos propres excès.
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Salome, from 09 to 28 May 2024 at Opéra Bastille
Information and reservations at www.operadeparis.fr/en/season...
When King Herod promises his stepdaughter Salome, princess of Judea, whatever she wants in exchange for a dance, little does he know that she will ask for... the head of the prophet Iokanaan (John the Baptist), and worse still, that she will kiss his mouth.
If the story of Salome dates back to the Gospels, it is Oscar Wilde's tragedy, written in 1891, that lends the myth all its force, intertwining as it does sexuality and religion, desire and death, obsession and decadence.
Richard Strauss's third opera preserves the play's sultry contours whilst introducing highly modern vocal and orchestral music, causing a scandal at its 1905 premiere in Dresden.
How is it possible to restore the disturbing force of this intense and sensual work today? By placing Salome in a near future where death and sex are commonplace, Lydia Steier delivers a radical vision that profoundly renews the character and invites us to question our own excesses.

Пікірлер: 6

@cescman47 Ай бұрын

How phenomenal she really is a force of nature, she sings not only Strauss and Wagner, but also Verdi and Puccini. That’s a voice and I for one will go to the other end of the earth to hear sing 👏👏👏

@cynthiafletcher9845 Ай бұрын

❤❤She is especially great with. Strauss.

@scottgilmore7319 Ай бұрын

This is indeed her rep. Thrilling. Hope she doesn’t blow it all out in five years...

@stefan9135 Ай бұрын

Good evening. I came home just an hour ago from this performance of Salome at Paris Opera. First the positive things. The music as conducted by Mr. Mark Wigglesworth was captivating. The performance of Lise Davidsen, Brslik, Reuter, Siegel was just a dream. I saw Lise Davidsen in Vienna in autumn 2023 where she gave a concert at the Vienna Staatsoper. It was because of her that I booked the tickets in Paris. And the singing was just wonderful. I am not a big fan of those productions, where the director changes the story in order to show the audience how s/he is looking at the world. There were parts of this opera, where I had to take off my glasses and was focusing on the beautiful music and the excellent singing. I felt almost sick when Herodes was sexually abusing Salome, followed by a mass raping of Salome. Yes, Salome was using her charms to get what she wanted, she wasn't an innocent beauty. But should I ever wish to see this production again, at least I know now, when to take off glasses, in order not having a feeling, that the evening is killed by abusing views of the director. The story of Salome is shocking enough, it really did not require to add another layer of sexual abuse to make it even more shocking.

@rayoflightshines 26 күн бұрын

Please, you have to think and to understand what is "Salome" and what a stage direction is. I This stage direction fully understands Salome and especially the dance part.

@stefan9135 13 күн бұрын

@@rayoflightshines Thank you for your comment. I think it is very easy to say, you don't understand opera or you have to think, without giving any arguments that could start a discussion. Maybe I do not really understand after attending opera performances for more than 30 years and after seeing several versions of Salome or other operas from Richard Strauss in Vienna, Germany (Hamburg), London etc. I am not against, if an opera is staged in a modern or unusual way as long it makes sense to me. Over the past years I saw many wonderful modern performances. But this staging was for me not of that sort. Anyway, the perception of art is something very personal, one doesn't need to like everything. If you enjoyed it, very good for you, but I did not. I really do not think, that presenting physical violence in a drastic form makes a peace more interesting, especially when the violence is not needed. As said, I find it quite shocking, to request the death of a person just out of annoyance, because being rejected and to use for this purpose physical charms. And it was not just about the dance, it was about the sexual abuse during the whole performance.