Past Production Reviews
2Soprano Patricia Racette gave a thrilling portrayal of Princess Salome, embracing in her own way the most outrageous aspects of the role, and was supported by a strong cast. The most striking aspect of Antony Walker's conducting was his balances between voices and orchestra, which let every word be heard. Salome is a teen princess in Judea, ruled by her father-in-law Herod and his wife, Herodias. Strauss's music brilliantly captures the obsessive and lustful air of the Herod's court, as well as the goodness of Jochanaan, John the Baptist, who is being held captive by Herod. Racette created a brilliantly textured picture of Salome, both privileged by rank and oppressed by the world she lives in. Her curiosity with Jochanaan grows by steps to fascination and obsession. The soprano sang with ample power, and would no doubt have been able to ride over a louder orchestra. She encompassed the part's wide range, including the demanding lowest register, and also had the nuance to vocally color insinuation, charm and ecstasy. Her Dance of the Seven Veils, created with choreographer Michele de la Reza of Attack Theatre, went against type because it mostly wasn't directed at Herod, for whom it was supposedly being performed. Most of this Salome's Dance was about her feelings, and was accompanied by three male dancers. At the end Racette turned fully naked to Herod, and then turned her back on him to face the audience before covering up. Baritone Nmon Ford was outstanding as Jochanaan. His opening lines were surprisingly powerful, sung as they were from under the stage in the cistern. But he sang with resonant dignity throughout. He was also much less stiff physically than most Jochanaans. Robert Brubaker as Herod and Micaela Martens as Herodias both sang well and roused themselves to requisite nastiness at times, but neither created a particularly vivid presence. The production was mostly traditional except that the soldiers carried knives rather than swords and shields. In this production Salome is killed by knife stabbing although the music's final rhythms suggest an even more brutal death.
With the unfortunate absence of the Pittsburgh Symphony this season, the excellent playing by the Opera orchestra was a reminder of how good this city’s second orchestra can be when it’s at its best. From the opening clarinet solo to the gigantic outpouring of Salome’s final declaration of love to the severed head of Jochanaan (John the Baptist), music director Antony Walker elicited taut, mostly accurate playing that enveloped the ear with magnificent floods of sound. Andrew Sinclair’s staging, on a workable set by Boyd Ostroff, contained some miscalculations that were at odds with the words and the printed directions – notably at the end, Salome merely stabbed from behind, rather than crushed beneath the soldiers’ shields – but the total effect of the show was quite overpowering. It was an evening of excellent tenors. Jonathan Boyd’s bright-tones were just right for Narraboth, the handsome young soldier who kills himself when Salome ignores his amorous advances. Robert Brubaker’s drier but penetrating sound was ideal for the lecherous, demented Herod. In the important, intricate quintet of Jews arguing over details of law, Michael Papincak, James Flora, Adam Bonanni and Eric Ferring (joined by bass Andy Berry) negotiated the knotty musical texture with an admirable degree of accuracy. Mezzo-soprano Michaela Martens was insufficiently imposing in voice or bearing as the evil Herodias, but resident artist Leah de Gruyl’s solid low register was impressive in the brief part of the Page, futilely in love with Narraboth. Brian Vu’s pleasant baritone was another asset in the melodious solo lines of the Second Nazarene.
