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The story is set at the beginning of the Christian era on a large terrace of Herod’s palace, during the reign of Herod Antipas. At night, on a terrace of the palace, Salome, Herod’s stepdaughter, is gazed at passionately by Narraboth, captain of the guard. Jochanaan, a prophet, is imprisoned in a cistern for having slandered Herod. He proclaims the coming of Jesus, but his message is met with incomprehension by the guards. Salome hears the prophet. She manages to convince the guards to bring Jochanaan out so she can see him. Both fascinated and frightened by his prophecies, Salome falls passionately in love with this man.Richard Strauss’s opera at the 2018 Salzburg Festival, directed by Romeo Castellucci at the Felsenreitschule. In her debut in the title role, Asmik Grigorian distinguished herself with her talents as a singer and actress.

It is no wonder that Met audiences have gone wild over Karita Mattila’s sizzling Salome. Indisputably one of the greatest Salomes of our time, Mattila utterly incarnates Oscar Wilde’s petulant, willful, and lust-driven heroine. With Strauss’s groundbreaking music magnifying the degenerate atmosphere and building the erotic tension, this is one opera that is as shocking today as it was at its premiere in 1905.

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This highly acclaimed production of Strauss Salome from the Festspielhaus Baden-Baden is staged by German director Nikolaus Lenhoff. Starring Angela Denoke as a brilliant Salome, who is joined by a great ensemble of soloists, Kim Begley, Doris Soffel and Alan Held. Performing with great aplomb , the Deutsches Sinfonie Orchester Berlin, conducted by Stefan Soltez, was also enthusiastically celebrated by critics and audience.

The composer Richard Strauss (1864-1949) is still a shining light today. But behind his radiant aura lies a dark shadow. His life was full of contradictions. During the "Third Reich", he was president of the Reich Chamber of Music and at the same time protector of the Jewish part of his family. Who was this Richard Strauss?

A year has passed since the young Emperor went hunting with his falcon and captured the Peri, who was in the form of a gazelle, and married her. She is still all light, neither human nor a spirit, and if after three more days she casts no shadow, she must return to Keikobad and the Emperor will turn to stone. Since she cannot bear children unless she can find a human shadow, she asks the strange Nurse for help. The Nurse, who controls weird magics, brings her to the discontented household of Barak, a dyer, and his Wife. The Nurse attempts to purchase the Wife`s shadow by promising her riches, an idyllic life, and a young lover. The Wife resists three times, and the Baraks are cast into an underground vault. The characters wander through eerily exotic settings while they recover their consciences, and all ends happily.

When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.

暂无英文版的简介，请添加内容帮助我们完善数据库。

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