By Lynn Meisberger
The Cincinnati Opera opened the summer festival with a luscious performance of Richard Strauss’ Salome, which repeats Saturday June 20. The cast is incredible and the Cincinnati Symphony impeccable as always but opening night volume occasionally overshadowed the extraordinary vocal talent.
The Story
The plot is well known: Salome, the niece and stepdaughter of King Herod becomes grievously obsessed with the imprisoned prophet, John the Baptist (Jochanaan). To satisfy her stepfather Herod’s lustful desires, she dances for him in exchange for the head of Jochanaan.
The scene where Jochanaan is brought before Salome is surprisingly comedic, as Salome tries to decide what she loves about Jochanaan each body part. She finally determines that it is his mouth that she loves and craves a kiss, which is denied, and angers Salome. Hence the tragedy that ensues. The incredible drama of the ending scene was shattering.
The Players
The performances are all remarkable. The captain of the guard, Narraboth (Zach Borichevsky), who is in love with Salome, has a rich tenor voice. Donghoon Kang, the First Soldier has a lovely baritone, and Emily Cotten, the Page of Herodias, (Herod’s Wife) a lovely mezzo. Herod (Chad Shelton) is comedic and lecherous and sings with aplomb. Michelle De Young is glorious as queen Herodias.
The stars are of course, Salome and Jochanaan, Kathryn Lewek and Alfred Walker. Walker is imposing physically as well as vocally. He fills the stage with his presence, such an awe-inspiring voice. Finally, the night belongs to Salome, Kathryn Lewek. Her soprano is up to this challenging role. The musical range is demanding but she manages it with ease. The beauty of her pianissimo in her high range is breathtaking.
The Cincinnati Symphony, conducted by Robert Spano, played with its usual spectacular ease, and if they were playing a concert with just the score, it would have been splendid. However, more consideration should be made for the singers on the stage. Granted, the orchestration is Mahler-like, heavy on the horns. The orchestra’s fortes were too loud on opening night and the piano’s not soft enough. In one scene, the five Jews were singing what seemed to be a wonderful piece of polyphony, but not one word could be heard. Luckily there are subtitles, but if the opera were in English, without the need for captioning, the plot would have been undecipherable. Ironically, the doors were late to open because of sound checks. Hopefully that will be addressed before the next performance.
Behind the Scenes
The creative team is at the top of their game. The direction is solid, thanks to Jose Maria Condemi. His decisions on how to stage are admirable. The set is strikingly minimal, thanks to Tim Wallace, with large walls of block and a projected moon that is amazing. And that head on the platter! Very realistic. The Lighting Designer, Thomas Hase fits the mood of every scene especially the final scene. The costumes, by Anita Yavich, are classic and sumptuous.
Run to Music Hall to see Salome this weekend, it will thrill and the music will inspire. Tickets for the June 20th performance are available at Cincinnatiopera.org or call 513-241-2742.
Run time approximately 1 hour, 45 minutes; no intermission
Content Advisory: Rated R for adult themes, violence, suggestive situations
A Cincinnati native and College-Conservatory of Music graduate, Lynn Meisberger brings a lifetime of musical expertise to theater reviewing. With more than 40 years as Director of Music for the Archdiocese of Cincinnati, she has shaped the region’s choral and liturgical music landscape. As a choir director, piano and voice teacher, and vocal coach, Lynn understands the craft of performance from the inside out — experience deepened further by time on the community theater stage. That combination of educator, musician, and performer gives Lynn Meisberger a uniquely informed perspective on the art of theater.
