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Détails sur le produit
Descriptions du produit
Description du produit
R.Strauss (1864-1949) : Salome Théâtre de la Scala, 2007 Luc Bondy, mise en scène Système NTSC - Code Région : 0
Biographie du réalisateur
L'opéra fut composé de 1903 à 1905, année de sa création. L'orchestration généreuse, dans laquelle interviennent orgue, harmonium et percussions, s'inscrit dans la ligne tracée par Wagner, autant que l'utilisation systématique du leitmotiv.
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Second, the best English subtitles I've seen on a dvd version of this opera. Finally, my impression is that La Scala makes a special effort in its productions to make the story crystal clear to the audience. That happened again with this Salome.
No, she doesn't take it all off. So what?
Instead, we see a girl who is not pure evil by any means of course, but is nonetheless terribly disturbed - JUST as Oscar Wilde intended in his original dramatic version. There is ample room to feel sorry for the character, while simultaneously acknowledging the poetic justice in her death, whereas the popular 1970s Stratas film goes out of its way to "redeem" her as the opera draws to a close (which not even the most hardcore feminist would actually buy into).
Even though Jokanaan is exceedingly handsome in this production, 'justifying' the praise that Salome bestows so lavishly upon his physical appearance - they actually made a *HUGE* BLUNDER by recruiting a Baritone who looks like Achilles. John the Baptist is supposed to have been living ascetically out in the middle of nowhere, surviving on a diet of *LOUSTS* after all........but in this production, he looks like he's been *FEASTING* on OXEN and WILD BOAR!!
It doesn't make any sense at all for someone who espoused a life of extreme austerity to look so STURDY, HEFTY, ROBUST and VIRILE, like the baritone here. Unfortunately, what most producers and directors don't understand is that Salome isn't ULTIMATELY attracted to Jokanaan's BODY - it's his "purity" that actually captivates her ("I am sure he is chaste like the moon!" she dreamily declares).
The only way she knows how to express her attraction is by fixating on something TANGIBLE like his body - because she hasn't been schooled in matters of the soul - and the fact that Jokanaan isn't ACTUALLY as physically desirable as she MAKES HIM OUT TO BE is pointed out explicitly by the text (for when he spurns her, she describes all the ways in which his body and his hair are UNAPPEALING......probably giving us a much more ACCURATE picture of what he REALLY looks like, without her "rose-coloured glasses" on, so to speak).
So yes, that's one of the MAJOR things that this production gets wrong - and which the 1923 Nazimova silent version of the story gets ABSOLUTELY *RIGHT*.
The performance of Herod is exceedingly praiseworthy here, though - one can really behold and FEEL his sense of *OVERWHELMING ANGUISH AND DREAD* even as he orders the death of Salome. Thanks to his *BRILLIANTLY PAINED FACIAL EXPRESSIONS*, the command to kill her does not come across as cold or ruthless, but as something the man feels COMPELLED to do, having experienced Salome's inhumanity first hand.......
Herodias mostly comes across as a piece of common Euro-trash, and utterly ignorant - which isn't what the character is supposed to be at all - but that can be overlooked. At least towards the end, the director makes a very potent display of the fact that HERODIAS HERSELF is shaken and deeply disturbed as she watches her daughter drool over the dead prophet's mouth. Unlike most other productions, the Queen actually EXITS the scene long before Salome is killed - which is a very interesting touch, as though she can't bear to watch the princess's "necrophilic rapture" any longer......
I don't agree with certain other directorial and dramatic decisions - e.g: Salome being portrayed as brazenly flirtatious and giddy in the beginning, as opposed to Oscar Wilde's thoroughly cool, chaste princess; although I realize that's just an interpretational variation. They probably wanted her to be regarded by audiences as a hormonally-driven teenager, and I can accept that in this case because at LEAST she doesn't BRAZENLY FLIRT with *HEROD* during the Dance (unlike most other versions, including the Teresa Stratas film, against Strauss's specifications).
She 'engages' Herod during certain parts of the dance, but the audience is clearly made to understand that Salome is just "going through the motions", and that she does NOT derive ANY sort of *PLEASURE* from titillating Herod (which was the MOST DISTURBING thing about Teresa Stratas's dance).
The Jews appearing onstage JUST IN TIME to hear Herod offer Salome the mantle of the High Priest and the Veil of the Temple was a *PATHETIC* instance of directing, that degenerated the whole production to the level of a KINDERGARTEN PERFORMANCE at that point (thereby completely undermining and destroying the dramatic, or should I say CLIMACTIC, intensity of the moment). Surely, even a school play director would have known better than that to make it seem like the Jews were *CUED* to go onstage.
Nadja Michaels - despite some over-the-top and repetitive facial expressions during her scene with Jokanaan - creates a THOROUGHLY COMPELLING and DRAMATICALLY SOUND incarnation of Salome.
A testament to her great *INTELLIGENCE* as an actress can be found towards the end of her dance, as she simulates the beheading of Jokanaan with gestural flourishes while dancing, but her face looks HALF-DEAD and even MORTIFIED......as though she were truly not a murderess at heart, but nonetheless feels she's been left with NO OTHER OPTION but to slaughter the object of her affections in order to possess him, however gruesome that may be.