Lyric Opera's production of "Salome" is a work that has been shrouded in controversy since its debut over 120 years ago. The opera's dark and twisted narrative has captivated audiences, but also sparked debate about its moral implications. David McVicar's troubled take on the classic work, now back at Lyric Opera of Chicago after a 20-year absence, fails to live up to expectations.
The production sets the story in fascist Italy during the 1930s, which is jarringly anachronistic given the historical context of King Herod, who ruled Judea in the 1st century. The bizarre changes detract from the overall experience, especially when it comes to the execution scene, where a naked body is revealed for no apparent reason.
The set design by Es Devlin is another misstep, with two levels that only the audience can see and a stark, bunker-like kitchen area at the bottom. Salome's famous "Dance of the Seven Veils" is reduced to a dull, technical spectacle, devoid of real impact or emotional resonance.
Soprano Jennifer Holloway delivers a decent performance as the titular character, but fails to convey the princess's teenage youthfulness. Her 17-minute aria with the severed head is chilling, yet could have benefited from more maniacal glee.
Nicholas Brownlee shines in his Lyric debut as Jochanaan, while Alex Boyer brings menace to the role of Herod. However, it's Richard Strauss' extraordinary score that truly steals the show. The music is a complex and dimension-rich tapestry, with jagged edges, blunt dissonances, and ominous rumblings that give this gritty tale its weight.
The Lyric Opera Orchestra performs masterfully under conductor Tomáš Netopil, who brings his own unique energy to the performance. Overall, while "Salome" may not be a triumphant production, Strauss' score is undeniably a work of genius that deserves more attention than it receives here.
The production sets the story in fascist Italy during the 1930s, which is jarringly anachronistic given the historical context of King Herod, who ruled Judea in the 1st century. The bizarre changes detract from the overall experience, especially when it comes to the execution scene, where a naked body is revealed for no apparent reason.
The set design by Es Devlin is another misstep, with two levels that only the audience can see and a stark, bunker-like kitchen area at the bottom. Salome's famous "Dance of the Seven Veils" is reduced to a dull, technical spectacle, devoid of real impact or emotional resonance.
Soprano Jennifer Holloway delivers a decent performance as the titular character, but fails to convey the princess's teenage youthfulness. Her 17-minute aria with the severed head is chilling, yet could have benefited from more maniacal glee.
Nicholas Brownlee shines in his Lyric debut as Jochanaan, while Alex Boyer brings menace to the role of Herod. However, it's Richard Strauss' extraordinary score that truly steals the show. The music is a complex and dimension-rich tapestry, with jagged edges, blunt dissonances, and ominous rumblings that give this gritty tale its weight.
The Lyric Opera Orchestra performs masterfully under conductor Tomáš Netopil, who brings his own unique energy to the performance. Overall, while "Salome" may not be a triumphant production, Strauss' score is undeniably a work of genius that deserves more attention than it receives here.
i mean, david mcvicar's vision doesn't quite mesh with the rest of the story, you know? they're trying to fit this fascist italian thing in but it feels like they're missing the point 
king herod lived 2000 years ago, what were they thinking putting him in a fascist italy setting?! and that set design is just so confusing... i get that es devlin's all about experimentation but come on, two levels that only the audience can see? who thought that was a good idea? 
at least jennifer holloway tried to bring some life to salome but that 17-minute aria felt kinda meh without more maniacal energy 
nicholas brownlee as jochanaan, tho! 
and can we talk about the score by richard strauss though?! it's like, genius or something 
. Setting the story in fascist Italy during the 1930s just doesn't feel right and takes away from the overall mystique of the opera 
. And that execution scene was so weird, I didn't even know what to make of it 
. The set design also felt really awkward, like they built two levels just for the audience and forgot about everyone else watching at home 
.
! It's like he's speaking straight to your soul with all those jagged edges and dissonances. The music is so powerful, it makes up for everything else that didn't quite work out here 
. And I have to say, Jennifer Holloway did a great job as Salome, even if she couldn't quite capture that teenage spirit 
.
. It was just so... distracting. The two levels thing with the audience-only part? Yeah, no thanks. And that kitchen area at the bottom? More like a weird bonus feature than an actual part of the performance.
. Jennifer Holloway did a great job as Salome - she's got some serious pipes on her! And Nicholas Brownlee was amazing as Jochanaan, I loved his take on the character. But even with those strong performances, it just felt like they were fighting an uphill battle against the rest of the production.
It's like he knew exactly what he wanted to say and how he wanted to say it, but the rest of the production just didn't have the chops to match. The music was incredible, I'm not gonna lie - it's got some serious edge to it. But sometimes, less is more, you know? Sometimes that extra layer of detail or fancy set design can just overwhelm the actual story being told.
I gotta say, this David McVicar production of "Salome" at Lyric Opera Chicago just didn't cut it for me... 
The anachronistic setting in fascist Italy feels super out of place and throws off the whole vibe of the story. 
, but those supporting characters just got lost in the shuffle.
... IT'S LIKE THE REAL STAR OF THE SHOW!!! His music is so complex and hauntingly beautiful. I wish they'd let it take center stage more often 
. Maybe next time 
. Like what's up with setting it in fascist Italy? It totally messes with the historical vibe of the story and I'm all about accuracy, you know? 
And don't even get me started on that set design - two levels? Are we even in a palace now? 
The music though, oh man... it's like Richard Strauss just poured his soul into it and they're not giving him the love he deserves 
that I know the character is capable of. And can someone please explain to me why they had her do that dance in a bunker? 
. Two levels, bunker kitchen... it's so extra. And that "Dance of the Seven Veils" scene? Forget about it, it was like watching a bunch of robots in lab coats perform some tedious choreography 
. I mean, come on, give me Richard Strauss' score any day - that's where the magic happens 
.
. And don't even get me started on Es Devlin's set design - it was like they took every cool aesthetic and made them bland and generic 
.
.
. Maybe next time they can get their act together and really bring Salome to life 
And can we talk about Richard Strauss' score?! 
Es Devlin's vision is all about confusing me, but unfortunately, it doesn't work. The whole thing felt like an excuse to show off their technical skills rather than focus on telling a compelling story 
. The set design might be weird, but Es Devlin's vision is all about contrasts and pushing boundaries 
. Jennifer Holloway's performance was good, I'll give her that, but a little more attitude would've made Salome pop 
. And can we talk about Nicholas Brownlee? He totally owned that stage as Jochanaan 
. The real star of the show is Strauss' score – it's like music to my ears 
Nichol's singing was okay but Jennifer Holloway's Salome just felt kinda...meh 
. And Nicholas Brownlee as Jochanaan is the real MVP – he brings so much energy to that role! 
. And the orchestra just nails it under conductor Tomáš Netopil