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The Atlanta Opera presents Richard Strauss’ Salome


Fueled by the recent announcement of its 2020-21 season, which is surely to be remembered as a game changer for the company, the Atlanta Opera’s second ever production of Richard Strauss’ Salome opened to thunderous applause this past Saturday. For this second effort, the company took great pains to give the daughter of Herodias and princess of Judea her due importance and created for her an entirely new production from the ground up. As it’s often the case in the creation of a new staging, the production team took a great deal of artistic risks, and though some of these did not fully capitalize on their promise (such as the opera’s deflating resolution,) various elements promoted thoughtful contemplation on the grotesque and disturbing topics which the opera forces the audience to tackle. Through the work of scenic designer Erhard Rom, the sets frame Herod’s palace as the lair of a paranoid nouveau riche which will one day be retrofitted into a fancy library. Mr. Rom also raises the entrance to the cistern above ground, so for once we, the audience, can peer into it and see just how dark and frightening the prophet’s prison really is. Making an inspired debut in this production, costume designer Mattie Ullrich striked the right decadent tone through costumes that emphasize a nervous gaudiness in Herodias and the neurotic swagger of her husband Herod. 

“Thy hair is like the cedars of Lebanon, like the great cedars of Lebanon that give their shade to the lions and to the robbers…” Salome (Jennifer Hollowell) and Jochanaan (Nathan Berg). Rafterman Photography.
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Posted by on January 26, 2020 in Arts, Opera

 
 

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