Strauss: Salome [Blu-ray]
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David McVicar's powerful 2008 production of Oscar Wilde's bible-based drama takes the controversially disturbing film Salò as its visual reference, setting it in a debauched palace in Nazi Germany. Strauss's ravishing and voluptuous score adds to the sexual alchemy conjured by an international cast led by Nadja Michael in the title role. Filmed for the big screen with High Definition cameras and recorded in true surround sound. Warning: Contains nudity and scenes of violence.Press Reviews
"Nadia Michael's Salome can sing and dance with comparable flair and accuracy. Thomas Moser's Herod is genuinely moving...The orchestra plays spendidly under Philippe Jordan and Jonathan Haswell's photography is more imaginative than the work of his colleague at La Scala." (The Penguin Guide)
"McVicar, a director who rarely puts a foot wrong, has once again put his stamp on a great work, making you view it afresh." (Musicomh.com)
"Philippe Jordan seems to have balanced his orchestra extremely well for both house and cast and is especially alert to the most modern twists of Strauss's harmonies. The filming (Jonathan Haswell) is sensitive to David McVicar's work while being much more than merely a static record." (Gramophone)Cast
Nadja Michael (Salome)
Michaela Schuster (Herodias)
Thomas Moser (Herod)
Joseph Kaiser (Narraboth)
Michael Volle (Jokanaan)
The Orchestra of the Royal Opera House; Philippe Jordan
Company: The Royal Opera
Stage Director: David McVicar
Catalogue Number: OABD7069D
Date of Performance: 2008
Running Time: 169 minutes
Sound: 2.0 PCM & 5.0 DTS
Aspect Ratio: 1080i High Definition / 16:9
Subtitles: EN, FR, DE, ES, IT
Label: Opus Arte
Top customer reviews
The stage setting in Salome is devided into two parts, the top where a party is taking place. The bottom in a wash room come toilet room. Well in a toilet situation, anybody is capable of anything, especially when disturbed. I like the lighting,Emerald green. But the problem is that the blurb on the back of the case of the opera, states that it is set in a debauched palace in Nazi Germany. I believe it is set in 1938. The problem is that there are Jews in the opera. Surely in this period in Germany, they would have been sent to Concentration Camps. Or at least Jews would have been persona non grata here. Maybe, David should have set Salome in a mythical Fascist State. Another problem is that much to my disappointment, there was no debauchary. A few naked ladies wandering around, all rather harmless really. Harmless as a Nuns tea party. Naked bloke though. Sorry ladies he wears a coat most of the time.He also stands around aimlessly.
As for the singing, Nadja Michael as Salome is bearable, but she does not dance, sort of wanders around, being chased by a fat bloke who cannot dance through seven rooms. God knows why. Some rubbish about finding herself. She seemed lost to me. The tubby bloke looked tired, never recovered. The best singer was Michael Volle, as John. He throws himself around. He is good. I like it when his head is chopped off. Blood drips from the rubber head. Apart from that the conducting is a matter of taste. For me Salome should be conducted briskly, so that it brings out the melody, the tension, so at the end you feel exhilarated. I felt as if I had been to a party I did not want to go to. Phillipe Jordan reminds me of a bloke who goes through the motions, and feels he must give the punters their monies worth, so he builds up the pace, then it is all too much for him and he goes back to slow. Others may disagree with me, as I have already said it is a matter of taste.
Zone Worldwide. Dts-HD.16.9
OK, Great, fine for their own specific period, BUT here we have the utterly sublime combination of teen-age confusion about "Love"; an "Object of Love" [dirty, ugly, smelly, yet aloof and seemingly "pure"; the rest? A strange den of depraved World Leaders - thriving and wallowing in their own little worlds of Lust and Corruption until Salome breaks the "mirror".
THE DANCE: FINALLY MAKES TOTAL SENSE - a disturbing, grotesque "Ginger and Fred" inspired waltz - moments leading up to the waltz are quite fascinating to watch ~ especially the "child" seduction, think "Hitchcock waltzing with Grace Kelly" and you'll get the idea.
The back projection during the waltz is also very disturbing ~ a giant alien eye -oe - an ancient Persian demon ... watching?
The severed head sequence is also riveting and must have been exhauting emotionally for Ms.Michael.
This Artist commits to the work totally without any fear - and that's the grandeur of this production!
Be warned - this one has nudity - not female, and gore ~ appropriate gore.
NOT BE MISSED BY THE INTELLIGENT VIEWER.
[Cannot wait for Ms. Michael's "MACBETH" on DVD - the Munich verision].
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