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THE ROYAL OPERA

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Generous philanthropic support from Julia and Hans Rausing

Libretto from Hedwig Lachmann’s German translation of Oscar Wilde’s play Salomé

Salome

MUSIC DRAMA IN ONE ACT

24.09.2022 20:00

The 143rd performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

The performance lasts about 1 hour 50 minutes. There is no interval.

GUIDANCE

Suitable for ages 16+

This production contains violence and gore. There are instances of nudity and implied sexual abuse.

CREDITS

Music
Richard Strauss
Libretto
Hedwig Lachmann
Director
David McVicar
Revival Director
Bárbara Lluch
Designer
Es Devlin
Lighting Designer
Wolfgang Göbbel
Choreography and Movement
Andrew George
Revival Choreographer
Emily Piercy
Video Designers
59 Productions

CAST

Conducted by
Alexander Soddy
Narraboth
Thomas Atkins
Page of Herodias
Annika Schlicht
First Soldier
Simon Shibambu
Second Soldier
Simon Wilding
Jokanaan
Jordan Shanahan
Cappadocian
John Cunningham
Salome
Malin Byström
A Slave
Sarah Dufresne
Herod
John Daszak replaces Štefan Margita
Herodias
Katarina Dalayman
First Jew
Paul Curievici
Second Jew
Michael J. Scott
Third Jew
Aled Hall
Fourth Jew
Alasdair Elliott
Fifth Jew
Jeremy White
First Nazarene
James Platt
Second Nazarene
Chuma Sijeqa
Naaman
Duncan Meadows
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin

Sarah Dufresne is a Jette Parker Artist

Guests of Herod

Actors Per Carminger, Andrew Carter, Peter Cooney, India Forbes, Jamie Francis, Riad Gadelrab, Kevin Jay Greenwood, Irene Hardy, Ralf Higgins, Luke Jarvis, Izzy Mackie, Quanna Luo Masterson, Duncan Meadows, Sirena Tocco

SYNOPSIS

The palace of Herod Antipas, Tetrarch of Judea

It is night. In the banqueting hall, Herod and his second wife Herodias entertain guests from Rome, Egypt and Jerusalem. Outside, Narraboth, the captain of the King’s Guard, gazes longingly at Salome, Herod’s stepdaughter. Herodias’s Page, himself obsessed with Narraboth, tries to distract him, fearing that his infatuation can only bring misfortune. 

From the depths of an old cistern where he has been imprisoned, the voice of Jokanaan (John the Baptist) is heard by the soldiers who guard him. To them, his prophesies are incomprehensible and they warn a curious Cappadocian servant that it is forbidden for anyone to see him. Salome suddenly appears. She has fled the banquet, longing to bask in the pure rays of the moonshine. Jokanaan’s voice echoes from the cistern, cursing her mother. Salome is intrigued and demands to see him, refusing Herod’s order to return to the table. The soldiers resist but Salome uses her power over the besotted Narraboth and he orders the prophet to be brought out before her.

Jokanaan is dragged out of his prison and rails against the marriage of Herod and Herodias, an incestuous match made possible by the murder of Herod’s brother Philip, Herodias’s former husband. Salome is appalled but fascinated. Despite the frantic pleas of Narraboth, she conceives a passion for the prophet that quickly turns to an obsession. In turn, she longs to touch his body, run her fingers through his hair and finally, to kiss his mouth. The distraught Narraboth stabs himself in the heart. Salome does not even notice, so intense is her desire to kiss the prophet. Jokanaan repulses her in disgust and commands her to seek the forgiveness of the Son of Man. Uncomprehending, Salome tries again to kiss Jokanaan and he curses her. The soldiers throw him back into the cistern. 

Herod arrives in pursuit of Salome, wife and guests in tow. He slips up in Narraboth’s blood; an ill omen that drives the paranoid Tetrarch to distraction. He denies Herodias’s demands to return to the banqueting hall and orders the servants to bring food and wine. He tries to persuade Salome to join him, even offering her a place beside him, on her own mother’s throne, but she refuses.

Jokanaan is heard again, railing against Herodias who furiously asks why Herod will not turn him over to the Temple Authorities in Jerusalem. The superstitious Herod prefers to keep him in captivity; he has heard rumours that this man may be the prophet Elias, returned to Earth. The Jews from Jerusalem are appalled by this suggestion and a noisy theological debate erupts between them, interrupted by Jokanaan’s voice proclaiming the coming of the ‘Saviour’. Two guests from Nazareth interpret this to Herod. The Messiah, they say – to the amused disbelief of Herodias – has come and is already working miracles in the land, turning water to wine and raising the dead.

Herod stops his ears. He asks Salome to dance for him. Again she declines, but he is determined and promises her whatever she desires as a reward. Salome makes him swear before the assembled guests, and despite the angry protestations of her mother, he agrees. She dances before Herod. 

An enraptured Herod asks her to name her price. She demands to be given, on a silver dish, the head of Jokanaan. Horrified, Herod refuses, but Salome, to the delight of her mother, is adamant. In mounting panic, Herod offers Salome jewels and power, half of his kingdom, even the Veil of the Sanctuary of the Temple of Jerusalem itself. She denies him. Herod finally agrees and the Executioner, Naaman, is given the death-ring by Herodias herself. He descends into Jokanaan’s prison while Salome, frantic with impatience, listens. Hearing something fall to the ground below, she fears the Executioner’s nerve has failed him and cries for help from the terrified Page and the soldiers. But she is wrong; the bloody head of Jokanaan is duly brought to her. Seizing it, she triumphantly sings to it. Jokanaan can no longer deny her the kiss she sought.

As Herod climbs the stairs to his palace, Salome’s longing is fulfilled. Herod pauses on the stairs and commands her death. 

PRODUCTION CREDITS

Music preparation
Christopher Willis, Susanna Stranders, Erika Gundesen, Edmund Whitehead
Assistant Director
Adam Torrance
Language coach
Dominik Dengler

THE ROYAL OPERA

Patron

The former Prince of Wales

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.

You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.

Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.

Cast sheets generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. There are hand sanitiser stations throughout the building. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

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