Your Guide to Salome by Edmonton Opera

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Richard Strauss (1864â&#x20AC;&#x201C;1949) New to opera? Be sure to check out our Educator's Guide, Your Guide to Opera, available for free download online. It is designed to supplement this guide and offers an overview of the history of opera, activities for your class, and useful information about attending our dress rehearsals. 2

In this way I see Salome not as the classic femme fatale, but as a victim. She longs for a kind of love that she has never received, and maybe cannot truly understand. She is clearly manipulated by her mother and sexually objectified by her stepfather. She has been raised with enormous material wealth, but with a complete absence of any kind of emotional nurturing, a loveless upbringing in a dysfunctional family.

Director’s Message Waut Koeken

The drama of Salome unfolds against the backdrop of King Herod’s luxurious golden palace. However, the brilliant palatial world in which the young princess grows up is a golden prison; despite all its splendor, it is a darker, more claustrophobic and more terrifyingly lonely place than the cistern in which the prophet is imprisoned.

he approach to this production of Salome was in very much the same way as Richard Strauss when he adapted his libretto from Oscar’s Wilde’s startling play. Wilde’s original text is haunting, evocative, poetic and intoxicating, and Strauss meticulously distilled the text into its bare emotional essence. The result is a concentrated and psychologically gripping tale of profound longing and profound moral failure — the failure of society, Salome and even John the Baptist, whose rigid religious dogma does not recognize Salome’s sincere capacity to love.

Rather than a concrete depiction of a sumptuous biblical palace, we have tried to create a visual world that evokes poetically the universe of Salome’s tragedy and focuses on the inner essence of the lyrical drama. The immense sensory poetry of the text and the score are so powerful that one needs to create a theatrical space in which this music can sculpt Salome’s world. Beyond the distractions and clichés of the exotic and decorative orientalism often associated with the subject, we wanted to create a set that is atmospherically charged, evoking powerful associations, and can change and transform to the moods and colours of the music and the heroine’s mental states.

The unequaled richness of the opera’s orchestration conveys the disturbed psychology of the characters, and the biblical setting is a vehicle for Strauss’ desire to tell the story at its most universal level. Strauss’ orchestration reveals a psychological space; it translates the outward scenic action into extremely powerful, subjective impressions of emotional and psychological states. The composer leads his audience into the dark and complex world of Salome’s psyche. In this way, we are inspired to strip the story of its historical trappings, to find a version which can speak to today’s audience.

The space is continually changing by subtle use of lighting, closely following the movements of the music. In this realm, nothing is what it seems. Characters can enter and exit through the “walls,” like phantoms in a grotesque nightmare, and yet there is no escape. At the centre of the space, there is a sumptuously set banquet table, evoking all the luxury and gluttony of an overwhelmingly rich but rotten society. The king, queen and their subjects dine, dance and party, receive guests and engage in politics — as if this society is trapped in an eternal party. But as the powerful voice of the prophet resonates, all are paralyzed. The set is transformed for the first (and most radical) time, leaving the empty table as an immense stage upon which the rest of the tragedy is to be played out.

The world of Salome is a world of moral decay. The failure and downfall of the characters comes from living in a material world of wealth and privilege but one devoid of love, understanding and human compassion. Salome is often read as a dark and provocative piece about the dangerous abysses of unbound erotic desire, with its heroine mostly seen as a prototype of the femme fatale. A closer reading of Strauss’ score, however, reveals a very different picture. From the opening of the work, one hears in the orchestral texture the incessant resounding of Salome’s love theme. Strauss’ music makes it clear to me that his lyrical drama is a drama of love. In a later letter, Strauss stressed that Salome’s behaviour should not just be met with horror and dismay, but also with pity.

At the heart of the tragedy is the relationship between Salome and Jokanaan. It is the story of a utopian, impossible and misunderstood love; catastrophe is unavoidable. She is fascinated by the words coming from Jokanaan’s mouth, as he speaks of love and redemption. But because of Salome’s corrupted upbringing, both protagonists fail to recognize the opportunity their meeting offers them. Salome confuses her love for him as lust because she knows no difference. Jokanaan is both attracted and repelled

by Salome’s sensuality, and responds by rejecting her. He is unable to give her the love she craves; he even fails in the moral code that he preaches. However, without love we cannot become full human beings, and this propels the action of the opera to bring the downfall of these two flawed characters. The Dance of the Seven Veils is the focal point for any director approaching the work. At the heart of his opera, Strauss inserts 11 minutes of symphonic poetry of enormous musical power. It is an incredibly subtle and accurate psychological portrait of his main character. After the exciting and intensely sensual opening bars that seemingly announce an erotic dance, we leave the realm of realistic outward action to focus exclusively on Salome’s inner drama. I have decided to conceive this part of the opera as seven phases in Salome’s life, with extras and dancers representing her at seven different times. The unveiling is not literal but psychological, with each veil representing a younger woman at an earlier time in Salome’s life. Rather than performing some sort of banal strip-tease with seven veils, Salome “unveils” her broken self in seven stages. Outwardly, she fulfils her stepfather’s wishes to be entertained, but she metaphorically unleashes the full power of her history. In the final, heartrending scene of Salome’s monologue, the silvery chains surrounding her lonely imprisonment are now like a thousand iridescent tears raining down on the stage. As a historic subject and fin de siècle art document, Salome links two comparable historical phases with a third epoch: that of our own. Today, ethical, moral religious and social notions are also exposed to decay and disintegration of their essential values. The central questions raised in the text and expressed through the music are very much the same today as they were in Strauss’ turn-of-the-century world or in the world of over 2,000 years ago.

Salome

Characters

Education Dress Rehearsal

Oct. 24 @ 7:00pm

Salome – Herod’s stepdaughter (soprano) Jokanaan – Prophet John the Baptist (baritone)

Jubilee Auditorium

Herod – King of Judea and Perea (tenor) Herodias – Herod’s wife, Salome’s mother (mezzo-soprano) Narraboth – Captain of the Guard (tenor) Page of Herodias

Salome Opera 101

First Jew Second Jew Third Jew Fourth Jew

October 10 @ 7:00pm

Fifth Jew

Art Gallery of Alberta Ledcor Theatre

First Nazarene Second Nazarene First Soldier Second Soldier Cappadocian

Join us for a thought provoking discussion surrounding Salome. With special guests from academia and our upcoming production. Admission is complimentary, but please RSVP at education@edmontonopera.com

Synopsis

Jokanaan returns to the cistern telling Salome to seek the only One who can save her. Salome, uncomprehending and overwhelmed by his mystique, begs to kiss him. Jokanaan curses her and disappears back inside his cell.

Written by Stephan Bonfield

King Herod, Herodias and their guests have finished the banquet and now move to the terrace. When Herod enters, he slips on Narraboth's blood and falls into a recurrent hallucination of powerful winds and beating wings. Lustfully, he approaches his stepdaughter Salome, despite Herodias’ repeated remonstrations to stop looking upon her. Salome turns him away. Jokanaan begins prophesying again from the cistern, and Herodias asks Herod to keep him quiet, urging her husband to hand him over to the Jews. Herod protests that Jokanaan is a holy man who has seen God. The Jews and rabbis denounce Jokanaan and demand he be handed over to them, arguing over the nature of prophecy and differing doctrines concerning God’s various powers of revelation. Jokanaan interrupts their noisy squabble with another prophecy about Jesus, corroborated by two men who tell of His miracles, including raising the dead. Herod exclaims he will prohibit the raising of the dead, but Jokanaan continues his preaching from below, turning his ire on Herodias, who is outraged.

Judea: 30 a.d.

he captain of the guards, Narraboth, is deeply in love with Salome, princess of the kingdom. From afar, he watches her on a terrace while she dines with her mother Herodias, her stepfather King Herod and the entire court at a banquet. Jokanaan ( John the Baptist) can be heard from the cistern below where he is imprisoned, calling out his lyrical prophecies. Meanwhile Salome flees Herod’s leering and the tedious arguments of priests quibbling over sectarian differences. While taking in the fresh air, she hears one of Jokanaan’s prophecies. Salome remarks she has heard Jokanaan curse her mother, Herodias, for taking to Herod’s bed, and inquires further about the nature of Jokanaan’s other prophecies. Salome refuses Herod’s order to return to the banquet, and when she hears another prophecy, she asks to speak to Jokanaan. She is told that Herod forbids anyone, even the High Priest, to speak to Jokanaan.

Unnerved and seeking distraction, Herod begs Salome to dance for him, swearing an oath he will grant her any wish however extravagant if she does so, over her mother’s strenuous objections. Salome begins the seductive Dance of the Seven Veils. In this production, each veil represents a phase in Salome’s life, making the unveiling psychological and not literal as in other productions.

Defiantly, Salome orders the guards to bring Jokanaan to her. When they refuse, Salome charms Narraboth into releasing Jokanaan. The captain’s men follow his orders and bring the prisoner to her. Jokanaan emerges from the cistern and majestically condemns Herod and Herodias. All are unable to understand Jokanaan’s words except Salome, who is clearly enamored by his strange and ghastly appearance. When Salome introduces herself, Jokanaan condemns her as unclean. Salome appears to misunderstand the severity of his words, somehow mistaking his voice as music to her ears. When she asks him what she must do, Jokanaan prophesies the salvation of humanity, through the Son of Man, but his words are apparently meaningless to Salome.

After her dance, Herod happily offers to grant Salome her wish. She asks for the head of Jokanaan on a silver platter. Despite her mother’s approval, Herod is shocked and desperately entreats Salome to consider accepting a seemingly endless list of valuables instead, but is rebuffed at every turn. Insistent, Salome vehemently holds Herod to his oath, and he angrily relents to Jokanaan’s execution. When the executioner returns with the prophet’s head, Salome grabs it and proclaims that now she will kiss Jokanaan at last, without refusal. Half-sunken into madness and erotic delirium, Salome sings hysterically of Jokanaan’s beauty, then proceeds to kiss the lips of his severed head. Repulsed, Herod orders the death of Salome.

She asks to touch his skin and hair, but Jokanaan rejects her. Unperturbed, Salome becomes increasingly ecstatic with each repudiation and, overwhelmed by the sight of Jokanaan’s mouth, she asks to kiss him. Meanwhile, a shocked Narraboth cannot restrain Salome from her deranged passion for Jokanaan. Unable to withstand his insurmountable grief at Salome’s obsessive behaviour, Narraboth stabs himself.

The Story Behind the Story

Leitmotifs

he story of Salome originates from the Bible, and was the subject of intrigue and interpretation by many artists. In the biblical story, Salome dances before her stepfather Herod and his guests, and in return is promised a reward of her choice. By her mother’s suggestion, Salome requests the head of John the Baptist. Poets, painters, and other artists extend the biblical tale to contemplate explanations and explore her significance in the portrayal of female sexuality. Examples can be found in works by French Symbolist painter Gustave Moreau who often depicts the Judean princess as a femme fatale.

eitmotif originates from the German word Leitmotiv, meaning “leading motif ”. It refers to a short, repeated musical phrase that represents a character, place or idea. This musical phrase can be a distinct melody, harmony or rhythm that helps the composer tell a story using symbolic meaning. The use of leitmotif can be found in classical music as early as the late 18th century, and composer Richard Wagner is well known for using this technique during the 19th century. Richard Strauss often uses the device in his work, and the music of Salome is no exception. Using a complex system of leitmotifs, Strauss depicts themes and characters throughout the opera.

It was these paintings by Moreau and other literary works about Herodias that caught Oscar Wilde’s interest while studying at the University of Oxford in 1877. Wilde wrote the original play Salomé in French for debut on the London stage in 1892, but British law of the time forbade the portrayal of Biblical characters on stage. (This would be the case for nearly 40 years, until the work was publicly performed in England in 1931.) Salomé premiered in Paris at the Comédie-Parisienne on February 11, 1896 to great acclaim, all whilst Wilde was in prison.

Not Your Average Leading Lady!

Wilde’s play in turn inspired other works, notably Strauss’ opera Salome. In 1902 Strauss witnessed the play performed in Berlin, which had been translated into German by Hedwig Lachmann. Less than a year later, Strauss began composing and Salome premiered in Dresden, Germany on December 9, 1905. At its debut performance, some of its artists were hesitant to perform the controversial material. Marie Wittich, playing the demanding role of Salome at the premiere, refused to perform the Dance of the Seven Veils and thus requiring a dancer to fill in. It took several years for other houses to present the opera; in Vienna it was prohibited until 1918, and in New York the production run was cancelled after just one performance! Today the opera has become a core piece in the operatic repertoire, ranked the 31st most performed opera in the world according to Opera Base.

trauss’ piece demands the true power and stamina of a dramatic soprano, much like the roles of Isolde or Brünnhilde in Wagnerian opera! The lead role is a challenge to cast as the singer must have the necessary volume and vocal range, but also be believable as a young lady. The Dance of the Seven Veils also adds another complexity to the role, as Salome is required to dance during this famous scene.

on Oscar Wilde’s French play Salomé, which had been given its première in a German translation by Hedwig Lachmann the year before. Strauss disliked Lindner’s poetry, but nevertheless saw the play later that year and immediately recognized its potential for good musical-dramatic subject matter. After the play, when he ran into a friend who cracked “that would make a good opera,” Strauss deadpanned, “I am already composing it.” The result three years later was a one-act Musikdrama with a libretto by the composer which consisted of a substantially-reduced version of the German translation. Strauss’ third opera had its première on December 9th, 1905 in the Hoftheater in Dresden.

Composer Richard Strauss (1864–1949)

The opera contained important differences from the original play. In Wilde’s version, Herod kills his brother so he can bed his brother’s wife Herodias, one of many lurid facts dropped from the final libretto. But Strauss preserved and explored the subjects of love and loss, erotic desire and neurosis, and in particular, madness and delirium, which were completely contemporaneous with the times, coinciding with the publication of Freud’s Three Essays on Sexuality and the psychoanalytic age of repression theory in general. Portraying a leading character’s near-complete psychological dissolution, whereby her inner and outer realities no longer conformed to any coherent sense of reality at all, was daring, risky, and new — something that moved beyond historically well-known mad scenes such as Donizetti's Lucia di Lamermoor and Ophelia’s death dénouement in Thomas’ Hamlet.

Written by Stephan Bonfield

ichard Strauss seemed to be born to instigate revolution in music. As a young man, he never was satisfied with music’s role as conservateur of established styles and conventions, though he would willingly return to them later, but only after he had shaken the foundations of Europe’s musical establishment.

Strauss learned early on in his career to abandon classical forms and to attempt bold, innovative ideas in the tone poem, following in the footsteps of the great Romantic master Franz Liszt. After a successful first attempt at the genre with Aus Italien (1886), he conducted Don Juan in 1889, at Weimar. It was a total triumph. He was hailed as Wagner’s heir and called ‘Richard the Second’. “Surely not” he retorted. “Call me Richard iii, for no one could succeed Wagner.” His new and wholly original writing style pushed the limits of Wagnerian harmony, and especially orchestration, to the breaking point. He quickly became known as the bad boy of music, particularly after his madly chaotic but very popular opera-turned-tone poem Till Eulenspiegel in 1895. But Strauss had other plans.

When rehearsals began for the opera’s Dresden première, nearly all the singers handed in their scores, calling the work unsingable, except Czech tenor Karel Burian who would début Herod, claiming he had the role memorized. The cast returned to work, a little chagrined to be professionally shown up. The orchestra nearly quit too, claiming the work to be unplayable. Scandal after scandal dogged the opera wherever it was performed. Salome was banned in Vienna, and eviscerated by the New York critics when it premièred at the Met, never to be heard again until 1934. It strained relations with Wagner’s widow Cosima, and caused consternation from the Kaiser to Thomas Mann, and, it seemed, with every critic in between. In spite of the fallout over such an apparently scandalous opera, Strauss remained unperturbed by all the attention he was getting. He was now the most well-known composer of opera in his day. When the Kaiser intoned that Salome would likely damage Strauss, he later remarked in his memoirs that the “damage enabled me to build my villa in Garmisch.” Salome made Strauss wealthy and famous, and part of the Second Reich elite. From there, he would go on to revolutionize opera further still with his next brilliant composition, Elektra.

In 1894 he launched his operatic compositional career with the poorly received fiasco Guntram. Strauss recovered, but sought something new that could likewise break open opera to his resplendent and glitteringly daring musical language. After a dubious première of his second opera Feuersnot, Strauss was approached in 1902 by the Austrian poet Anton Lindner with an offer to collaborate on a libretto based

Libretto

After graduating Wilde moved to London and focused on writing poetry. In 1881 his first collection Poems was published to modest reviews. The following year Wilde spent touring the United States, giving lectures on aestheticism in various cities. Following this tour, Wilde returned home and lectured throughout England and Ireland until 1884. Throughout this time, Wilde developed as a key promoter of the aesthetic movement.

erman poet, author, and translator Hedwig Lachmann was born in Stolp, Pomerania August 21, 1865. After attending high school she passed the language teaching examination at the young age of fifteen. She then worked as governess throughout Europe while also working on translation. Her translations of poems by Edgar Allan Poe were published in 1891 and that of Oscar Wilde’s Salomé in 1903. The German translation of Salomé was performed at the Schall and Rauch Theatre to popular acclaim and later this libretto was adapted by Strauss for the opera.

In 1884, Wilde married Constance Lloyd, a wealthy Englishwoman. They had two sons, Cyril and Vyvyan. From 1888, Wilde produced many of his most famous works including the novel The Picture of Dorian Gray (1891), and the plays A Woman of No Importance (1893), The Importance of Being Earnest (1895), and Salomé (1896). In one night Wilde wrote his version of Salomé in Paris after discussing his vision for the tale with fellow writers. With the piece complete he hoped to have it produced in London with renowned actress Sarah Bernhardt as the leading role of Salomé. However, state censorship at the time banned the portrayal of Biblical characters on stage. A few years later, in 1896 Salomé premiered in Paris to great acclaim. Sadly during is premiere, Wilde was serving time in prison due to his relationship with Lord Alfred Douglas. The father of Douglas, the Marquess of Queensberry, charged Wilde for homosexual acts, which at the time was forbidden by British law. He spent two years of hard labour in prison, which deeply affected his health and career. After Wilde was released, he departed for France where he was poor and wrote his last piece The Ballad of Reading Gaol (1898). He had a brief reunion with Lord Alfred Douglas, but after a few months separated. In late 1900 Wilde developed meningitis and died November 30, 1900 at the age of 46.

The Playwright Oscar Wilde (1854–1900)

scar Fingal O’Flahertie Wills Wilde was born in Dublin, Ireland October 16th, 1854 to Jane and William Wilde. His father was an acclaimed doctor in Dublin, and his mother a skilled writer. He was one of three children and lived quite a privileged life. At home he studied French and German under the family governesses, and later attended boarding school. Wilde began his studies at Trinity College in Dublin from 1871 to 1874, where he pursued Greek and Roman studies and was an outstanding student. When he graduated he received further scholarships to continue his studies at the prestigious Magdalen Colllege of the University of Oxford, England. During his time at Magdalen College he began more serious attempts at writing, and received an award for his poem Ravenna. He graduated in 1878 with a “double first” in Classical Moderations and Literary Greats. (“Double first” is British classification meaning he had first-class honours in these two subjects in the same set of examinations during his undergraduate.)

Original Source Bible, New Testament

he Daughter of Herodias and Herod ii, Salome, is recognized from the biblical writings of the New Testament. Her character is depicted as a symbol of female sexuality and seduction that led to the beheading of John the Baptist in the first century ad. Her mother Herodias was originally married to Herod the Greatâ&#x20AC;&#x2122;s son Herod ii, but divorced him to marry his half-brother Herod Antipas. At the time of meeting Herodias, Herod Antipas was also married (to the daughter of King Aretas iv of Nabatea) and soon divorced in order to marry Herodias. This marriage to his brotherâ&#x20AC;&#x2122;s former wife, who was also his niece, was publicly condemned by John the Baptist. As a result, he had John the Baptist imprisoned. It is written that Salome dances for her stepfather Herod and his guests, and in return is given anything she asks for. Her mother insists that Salome demand the head of John the Baptist, and he is executed.

Glossary Aestheticism: an art movement emphasizing the values of art, beauty and taste Arias: Meaning “air” in Italian. Arias are solos that accompany the orchestra, which allow a character to express their feelings and demonstrate their vocal talents.

Femme fatale: French phrase meaning ‘fatal woman’. Describes a woman who seduces and lures someone into precarious or deadly situations Governess: a woman employed in a household to teach children Librettist: Chooses a story, writes or adapts the words.

Baritone: A type of male voice that is lower than the tenor, but higher than the bass. Usually played by father figures or middle-aged children. Bass: A type of male voice that is the lowest pitched. It is often played by wise and older characters.

Mezzo Soprano: a type of female voice that is lower than the soprano and higher than the contralto. Often played by the character of the young boy, a complex or evil character. Playwright: Someone who writes plays.

Cappadocia: a historical region located in Central Anatolia, Turkey

Prophecies: messages of events to come communicated from the divine to a prophet

Cistern: a vessel for holding water Composer: Writes the music. Contralto: A type of female voice that is the lowest pitched. Their voice is deep and well-rounded. Usually played by the maid, mother or grandmother. Ensemble: A musical number sung by two or more people of different ranges. For example, duets, trios, quartets, quintets and sextets.

Soprano: Highest pitched female voice. Usually the female lead singer is written as this type of voice. There are 3 types: coloratura, dramatic, and lyric. Tenor: A type of male voice that is the highest pitched. It is often the leading role and they typically fall in love with Sopranos. Tetrarch: The ruler of one quarter of a region

See you at

Salome!

Activity 1

Activity 2

Reader’s Theatre

Facebook Character Development

Curriculum Connections

Drama Grades 4–9

Develop role-playing skills and specific storytelling skills

Grades 10–12 Develop the ability to play a character from the character’s point of view ELA

Grades 4–9

4.3 Present and Share

Grades 10–12

5.2 Work within a group

ELA

Grade 4–6

2.2 Respond to Texts

Grade 7–9

1.2 Clarify and Extend

Grade 10–12

2.1.2 Understand and Interpret Content

Activity Students will explore and develop different characters in Salome by creating a Facebook profile. Discuss the characters as a class, talking about their importance and roles. Group students into small groups and assign one of the following characters: Salome, Herod, Herodias, Jokanaan, and Naraboth .

Student Objectives Students will demonstrate their understanding of the plot through performing a Reader’s Theatre of Salome. Allow students to read the Salome synopsis. As a class discuss the plot, characters, dilemmas, and resolution in the opera.

Encourage students to develop a profile for their assigned character including: interests, education, work, philosophy, arts, sports, likes, and other activities.

Activity Divide the class into small groups and assign each group a part of the synopsis. Within each group designate characters and one narrator. Allow students time to practice their scene. Students will need to create their character's dialogue based on the assigned synopsis. After they have prepared, the narrator for the group will read their section as the other students act out the story. Groups will perform their part following the sequential order of Salome. If you have props or costumes incorporate them too!

Write three status updates that your character would write based on the storyline and events in Salome. Allow students to share their character insight amongst small groups followed by a classroom discussion. Questions for Discussion What groups is your character involved in? What types of friends do they have? What types of goals does your character have? Do they face any obstacles in achieving these goals? Were you able to relate to your character? Can you understand why your character made the decisions that they did? Richard Stauss’ Salome first premiered in Dresden, Germany in 1905; do you think the characters are still relevant today? Is the opera still controversial?

Activity 3 Poster Creation Curriculum Connections Art

Grades 5-6

Component 7: Composition, Component 10: Expression

Grades 7-9

Drawing and Composition

Grades 10-12

Drawing and Composition

Activity When creating a poster for an opera there are many things to consider. It is important to keep in mind the Directorâ&#x20AC;&#x2122;s vision for the production and allow ample time for research through different resources such as online, literature, listening to the music, and watching other productions. When creating an image to represent an opera you must consider the time period, setting, themes, characters, and plot. Our designer must also keep in mind our audience that we are trying to appeal to and what types of media we will use to reach them. After researching, it is important to sketch and brainstorm your ideas. It can be helpful to make a collage or mood board of different visuals and ideas that you would like to incorporate into the final image. Other important factors include the hierarchy of information (what is the most important information and how will you show that importance â&#x20AC;&#x201C; size of type, colour, location, etc), typography, colour (contrast, significance of colour), composition (placement, size and shape), and form among others. How would you illustrate Salome? Is your image a literal or symbolic portrayal? Using the Synopsis, Message from the Director, and The Story Behind the Story create a poster using what you feel represents Salome the strongest. Edmonton Opera loves hearing from students! Send student posters to education@edmontonopera.com and they may be posted on our website!