This was a tremendous evening with an outstanding performance from the Salome, Ingrid Kessler, of which more later.
The production was an older one, originally created by Luc Bondy and the emphasis was on the performances rather than an overriding concept, represented by sets and costumes. That requires top-flight singing and, with Salome at least, one certainly had that.
The set was semi-abstract with a raised sloping platform SR, below which was Jokanaan and a dark high curved wall mid-centre and SL a room corner which through venetian blinds you could see the moon – not used as much or as effectively as it might be I felt. The costumes were a mix – the soldiers in vaguely Roman-looking gear, Herodias in a black cocktail dress, Herod in a slightly camp coloured jacket and a deliberately obvious toupee. Jokanaan was in traditional rags while Salome wore a tight sheer top and a full skirt. She also had a large piece of material which, at the start at least, she overused by wrapping it around herself and twirling it but this affectation gradually ceased and in her dance she used several of these, to reasonable effect.
The emphasis was on the relationship between characters and that of Salome and Jokanaan was perceptive and quite original in places. At times, it seemed there was definitely attraction by Jokanaan for Salome which he fought against and in one scene she was reacting to and with him like a father/daughter relationship. Effective and creepy. The great difference in height was also effective at suggesting an adult/child relationship. These scenes were, after the final scene, the most dramatically involving in the production. There were other nice touches too; when Herod was desperately trying to get Salome to change her mind about her price for her dance and showing her all the jewels, Herodias was there grabbing what she could- and she triumphantly brought out the massive silver platter for Jokanaan’s head to give to her daughter.
The orchestra mastered the score well and balance was good. I had a sense of the conductor having a strong structural sense of the work as a whole so that climaxes did not come too early and so be less effective.
Ursula Pfitzner and Wolfgang Ablinger-Sperrhacke gave well-sung and mercifully non-exaggerated performances as Herod and Herodias, properly sung and not grotesquely exaggerated as has been the case in the past. As Jokanaan Tommi Hakala (a winner of the Cardiff Singer of the World) was excellent, vocally and dramatically. His powerfully resonant voice combined with vivid acting gave a more nuanced view of the part than often happens where he can too often be seen solely as an obsessed fanatic. The relationship with Salome was, as suggested, very intriguing. The minor parts were all well-acted and sung.
But Kessler, rightly and almost necessarily so in this work, was the true star. Her voice was powerful enought to ride the brutal climaxes but also, where needed, had a silvery crystalline quality that was dramatically very effective in conveying her perverse innocence. A traditionally Wagnerian-style voice is rarely if ever able to convey this. She combined vocal excellence with convincing acting and fine body language.
So, a tremendous evening.