This week the Royal Opera House (ROH) ended its successful run of Verdi’s Macbeth. A terrified and guilt-stricken Lady M., performed by Anna Netrebko, left haunting memories behind including scenes of her sleepwalking and dreaming she was washing blood off her guilty hands. Now the Covent Garden’s backstage has filled its walls with Richard Jones’s 2004 production of Shostakovich’s first and last opera, Lady Macbeth of Mtsensk (1934.). From Banquo’s ghost to Boris Ismailov’s ghost it is no coincidence that Shostakovich’s opera presents many parallels between his version of Lady Macbeth and Shakespeare’s own.
Looking at Salome through a post-Weinstein veil
Ten years ago I saw David McVicar’s production of Salome. Back then it was brand new not only to the Royal Opera House and also to me. I was 23 years old, developing my knowledge of opera productions in London and working my way through a checklist of operas I wanted to see. Between now and then, I’ve seen Salome performed by Swedish soprano Nina Stemme in a semi-stage production at the BBC Proms and another performance by British soprano Allison Oakes at the Deutsche Oper Berlin. I remember the production well for its strange stage design — a green, modern day tie store. (I didn’t buy it.) I also recall a small yet exceptional physical theatre production by Théâtre Libre at the Space Arts Centre. From these productions alone, I learnt that the character of Salome — based on the biblical text — most certainly symbolises seduction, power and lust.
Given Oscar Wilde‘s emotionally charged portrayal of Salome, his French play became a success de scandal in 1891. This was similarly the case for Richard Strauss‘s opera in 1905 in Dresden. The Lord Chamberlain banned the play and opera in London until 1907, while the Vienna State Opera was far more ruthless and didn’t perform the opera until 1918. In 1903, Strauss composed his novel, groundbreaking opera accommodating a 100-piece orchestra in Berlin, and in the space of two years it was successfully performed over 50 times after its premiere in 1905.
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Afternoon all! Here's my #interview piece with French pianist #JeanPaulGasparian. He talks about his new debut album, his background in Russian #classicalmusic and provides some inspiration words for aspiring pianists. I can't believe he is 22 years old! trendfem.com/2018/06/q-a-wi…
Last night @ChicagoOnStage was excellent. All those tuneful numbers, jazz hands & burlesque dance 'sequins' were good as I remembered. Whatever to the neg. reviews it was getting when it opened. They were either too picky and cynical or the performance has massively improved.♥️
Our wonderful and charming @CubaGoodingJr 'passionately' explains his feelings on performing on London's #WestEnd for the first time 😂— Chicago The Musical (@ChicagoOnStage) June 16, 2018
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☆☆☆☆☆ Any opportunity to see #LauraLinney live should be embraced fast. If not, then at least try and read one, or all, of Strout's books. I'm currently reading Anything Is Possible (2018) & I've having difficulty putting it down. @_bridgetheatre trendfem.com/2018/06/my-nam…
☆☆☆☆☆ One can learn many things from @operahollandpk #OHPTraviata stripping an opera of novelty & sensationalism and bringing it back to the text doesn’t render a production boring or unoriginal... when executed well it can do wonders trendfem.com/2018/06/opera-… #OHPYoungArtists