The character gallery in Richard Strauss’ one-act play “Salome” is remarkably unsympathetic, even to opera to be. The raving insane Herod who wallows in sensual excesses, while at the same time fearing the world of the Gods. His wife Herodias, the Babylonian harlot if any. The Prophet Jochanaan (John the Baptist) who counters Salome’s erotic approaches with IS-like religious fanaticism. The quintet of Jewish scribes arguing so that beards fly over theological intricacies. And most of all: the protagonist himself, who lets his garments fall in front of his stepfather, to evocative rhythms, to achieve his trophy: Jochanaan’s decapitated head served on a silver platter. Unfortunately, the concert version of the opera in the Grieg Hall never made much of an impression. Several of the main roles struggled to reach beyond the stage edge. The Bergen Philharmonic Orchestra brought out many details in Richard Strauss’ hypercomplex orchestral movement, but ultimately sang efficiently and well-balanced rather than evocative and seductive. The biggest problem was a vague, or perhaps more precise: absent stage concept that made me never fully understand what I was witnessing. Concert, and a little more This production of “Salome” was originally on the poster in the pandemic year 2020. The plan at the time was a semi-stage version, probably following the same model as the successful production of Britten’s “Peter Grimes” during the Festival in 2018. The formula at the time was orchestra the stage instead of down in the orchestra pit, and singers who played their characters with simple direction and scenography in front of the orchestra. The Grimes production from 2018 showed that this could provide strong and intense musical drama. VISIBLE: On stage instead of hidden in the orchestra pit, «Salome» during the Bergen Festival was the orchestra’s evening. Photo: THOR BRØDRESKIFT / Bergen Festival Photo: THOR BRØDRESKIFT / Bergen Festival Photo: THOR BRØDRESKIFT / Bergen Festival Thursday’s “Salome” was announced as a pure concert version, without a directing team. The original plan from 2020 for a semi-stage version was thus apparently thrown overboard. At the same time, it was clear that the Bergen Philharmonic Orchestra wanted this to be something more than an affair where the soloists just stood straight up and down in stiff concert attire and sang their parts. Without a clear stage grip, the result was neither bird nor fish. It seemed as if the theatrical aspect was up to each individual singer to decide on. The result was soloists who only exceptionally looked at each other, but who nevertheless to a greater or lesser degree tried to shape their roles through gestures and facial expressions. Overall, it was thus a performance with unclear dramaturgy. The performance alternated unplanned and arbitrary between concert and semi-stage performance, as if it never quite managed to decide what it wanted. MAIN ROLE: Allison Oakes stood out on stage in the role of Salome in a blood-red dress. Photo: THOR BRØDRESKIFT / The Bergen Festival Slightly seductive The performance’s vague expression was reinforced by the fact that several of the main roles did not carry out sufficiently in the hall, which is extra demanding when the orchestra is placed on stage and not down in the orchestra pit. Soprano Allison Oakes gave the audience an introverted and un seductive Salome who fought bravely but often in vain against the huge orchestra she had right behind her. Oakes has a round and full sound, but lacks the element of dramatic edge needed to top the orchestra in the most powerful parts. The great final scene, in which Salome sings triumphantly with the beheaded head of Jochanaan (John the Baptist) in her hands, thus became an anticlimax. Lack of nerve also characterized the great confrontation between Salome and Jochanaan in the first half of the opera. Salome’s lightning-fast alternations between spitting contempt and seductive coquettishness were never fully expressed vocally. Baritone Kostas Smorginas lacked some of the more warm and lyrical register that characterizes Jochanaan when he is in the more pious corner. ALL-IN: Tenor Hubert Francis gave his all in his parties as Herod. Photo: THOR BRØDRESKIFT / Bergen Festival Photo: THOR BRØDRESKIFT / Bergen Festival Photo: THOR BRØDRESKIFT / Bergen Festival The only one who really convinced was tenor Hubert Francis, who went “all in” in the role of the plump and neurotic Herod. His intense presence on stage gave the show a much-needed dramatic focus, at least for a while. The brilliant and cool “Salome” performance in the Grieg Hall was most of all the orchestra’s evening, despite the fact that conductor Edward Gardner had to spend a lot of energy holding back the great forces. Of course, it was a real boost that the musicians and instruments in the orchestra were actually visible on stage, instead of hidden away down in the orchestra pit. The double bass’ frightening depiction of the dying silence from the dungeon just before the ax falls. The meandering solo in the counter bassoon that marks Herod’s entry on stage. The hefty timpani parts, and the many completely crazy solos in woodwind. Conductor: Edward Gardner conducted the Bergen Philharmonic Orchestra during the performance of «Salome». Photo: Thor Brødreskift / Festspillene i Bergen Photo: Thor Brødreskift / Festspillene i Bergen Photo: Thor Brødreskift / Festspillene i Bergen Not least, there were many great sound effects from the left half of the stage, where two harpists and an extended percussion section characterized the soundscape. I have honestly never heard so many details before in this extremely complex orchestral part. At the same time, there was something technically brilliant and cool analytical about conductor Edward Gardner’s interpretation. The blood-dripping orgy of psychosexual madness only came to light this evening at Grieg Hall. news reviewer Photo: Bergen Festival Title: «Salome» Starring: Allison Oakes Orchestra: Bergen Philharmonic Orchestra Conductor: Edward Gardner Venue: Grieg Hall, Bergen Festival Duration: 2 hours Date: June 2, 2022
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«Salome» during the Bergen Festival – Reviews and recommendations
