bodyType

customContents

entityId

entityUuid

articlePageQuery

filter

article

articleBaseAdvertisingInfoArticle

articleListArticle

articleSeoArticle

helpersCheckIsPostiesArticle

hooksArticleAcknowledgementGateOverlayArticle

hooksTrackPageViewArticle

hooksContentInterestArticle

articleLinkingDataContent

articleSchemaContent

liveArticle

advertZone

sentiment

contentLock

topics

types

sections

moreOnThisArticles

urlAlias

commentCount

sponsorType

authorLocations

authors

paywallTypes

corrections

displaySlideShow

multimediaEmbed

printHeadline

seriesContainer

socialHeadline

headline

flag

firstTopic

glossary

flattenTypeIds

publishedDate

additionalInfoBoxes

images

image

relatedLinks

relatedNewsletters

__typename

createdDate

sponsor

factSheets

series

disableOffPlatformContent

published

updatedDate

summary

subHeadline

body

keywords

copyrighted

customTimezone

liveContents

Sam Olluver

Opera Hong Kong Cultural Centre Grand Theatre 
Reviewed: October 10
Marking the 150th anniversary of the birth of Richard Strauss, Opera Hong Kong presented what is arguably his most powerful stage work, Salome, in a co-production with the Slovene National Theatre Opera and Ballet of Ljubljana.
Based on Oscar Wilde's dramatisation of the biblical story, the work mixes dysfunctional family relationships with religion, abusive lust and decapitation.
Herodes, the wheedling, lecherous stepfather of Salome with Herodias for a vixen of a wife, has imprisoned John the Baptist (named Jochanaan in this work). Salome develops a disturbing sexual fascination for the prisoner, which disgusts him.
When Herodes makes a move on Salome, she agrees to dance for him if he will grant her a wish. Herodes accepts the deal and, after the Dance of the Seven Veils (choreographed here as erotica and fleeting, provocative nudity) Salome asks for Jochanaan's head.
When it's delivered on a platter, she kisses the lips in revenge for his rebuffs, shocking Herodes back to rationality: he orders soldiers to crush Salome under their shields. In this production, the execution instrument is a short-bladed knife wielded by a security guard. The modest set, with subtle projections, proved an excellent backdrop for the sizzling drama.
The vocal line-up was impressive. The whole cast sang Strauss' formidable score with powerful resonance, not least the team of local singers, who injected a vibrant immediacy into their smaller roles as quarrelsome religious courtiers.
Peter Bronder (Herodes) played well the excellent contrast of strong voice and feeble character; Daniel Sumegi (Jochanaan) was powerful as the wild prophet of the desert - no sanctimonious smooth edges here; Jacqueline Dark (Herodias) impressed with subtle reflections of both her weakness and power; and Jason Wickson fired up the opening with command as Narraboth, captain of the guard.
Dressed in shocking pink and with a generous vibrato, Kirsten Chambers (Salome) initially connected more as a royal tart than a disturbed adolescent. Changing into a skimpy black dress for the later scenes, she descended into depravity more convincingly.
John Neschling directed the Hong Kong Philharmonic Orchestra with accuracy and restraint.
 


Salome

Hong Kong Philharmonic Orchestra provided the medium for this story about John the Baptist's beheading. Photo: Philip Chau

Lifestyle

Arts & Culture

Marking the 150th anniversary of the birth of Richard Strauss, Opera Hong Kong presented what is arguably his most powerful stage work, Salome, in a co-production with the Slovene National Theatre Opera and Ballet of Ljubljana.


Salome

Marking the 150th anniversary of the birth of Richard Strauss, Opera Hong Kong presented what is arguably his most powerful stage work, , in a co-production with the Slovene National Theatre Opera and Ballet of Ljubljana.