Salome.(Metropolitan Opera)(Radio Program Review)

Broadcast of March 27, 2004 sponsored by ChevronTexaco over the ChevronTexaco Metropolitan Opera international radio network, 2:00 p.m.

THE STORY

From the moonlit terrace of Herodes's palace, Narraboth, captain of the guard, gazes rapturously inside at the Princess Salome, who is feasting with her stepfather, the tetrarch, Herodes, and his court ("Wie schon ist die Prinzessin Salome heute Nacht!"). A Page warns him not to stare so intently, lest something terrible happen. The Messiah's greatness is proclaimed by the voice of the prophet Jochanaan, echoing from a deep cistern, where he has been imprisoned by the tetrarch ("Nach mir wird Einer kommen"); two Soldiers comment on the prophet's kindness and Herodes's fear of him. Salome, bored with Herodes's lecherous glances and his coarse guests, rushes out to the terrace for some fresh air ("Ich will nicht bleiben"). She becomes curious when she hears Jochanaan curse Herodias, her mother. When the guards refuse to let her speak to Jochanaan, Salome turns her wiles on Narraboth, who orders that Jochanaan be allowed to come forth. Salome is fascinated by the prophet's deathly pallor and pours out her uncontrollable desire to touch him. The prophet rejects her, speaking of the Sun of God who will come to save mankind. When Salome continues to beg for Jochanaan's kiss, Narraboth stabs himself in horror, and the prophet descends into the cistern, cursing the girl. She collapses in frustration and longing.

Looking for Salome, Herodes appears ("Wo ist Salome?"), followed by his court; remarking on the strange shape of the moon, he slips in Narraboth's blood and, unnerved, is visited by hallucinations. Herodias scornfully dismisses his fantasies and suggests they withdraw. Herodes's thoughts return to Salome, who spurns his attentions. Juchanaan's subterranean voice again is heard harassing Herodias, who demands that Herodes turn the prophet over to the Jews. Herodes refuses, maintaining that Jochanaan is a holy man. His words incur an argument among the Jews concerning the nature of God, followed by a narrative of Christ's miracles by two Nazarenes. As Jochanaan continues his denunciation, the queen furiously demands his silence. Herodes begs Salome to divert him by dancing and offers her anything she might wish in return. Salome makes him swear he will live up to his promise, then dances, shedding veils and finishing at Herodes's feet (dance of the seven veils). She shocks the tetrarch by asking for the head of Jochanaan on a silver platter ("Den Kopf des Jochanaan"). She is refused by the horrified Herodes, but Herodias laughs approvingly. In desperation ("Salome, ich beschwore dich"), Herodes offers alternatives--jewels, rare birds, the sacred veil of the Temple. But Salome persists until the terrified tetrarch finally gives in. As an Executioner goes down into the cistern, Salome peers impatiently over the edge. At last an arm is thrust from the cistern, offering the head to Salome.

As clouds obscure the moon, Salome seizes her reward passionately, addressing Jochanaan as if he lived ("Ach, du wolltest mich nicht deinen Mund kussen lassen, Jochanaan!") and triumphantly kissing his lips ("Ach, ich habe deine Mund gekusst"). Overcome with revulsion, Herodes orders the soldiers to kill Salome. They crush her beneath their shields.

THE BACKGROUND

Richard Strauss's resolutely Wagnerian first opera, Guntram (1894), failed. His next, a fair success, was Feuersnot (1901), in which he hit upon two of his most effective devices, satire and shock. His setting of Oscar Wilde's play Salome two years later marks Strauss's emergence as a mature opera composer. Symphonic in concept and orchestral treatment, it his a tone-poem-like structure that intensifies the play's aura.