From 12 April till 20 April 2021

From 11 to 20 April 2021

Richard Strauss /
SALOME

Drama in one act
Libretto by Hedwig Lachmann, after Oscar Wilde

Conductor | Juraj Valčuha
Master of the Chorus | Gea Garatti Ansini

Stage director | Manfred Schweighofler

Set designer | Nicola Rubertelli

Costume designer | Katrin Dorigo

Cast
Herod | Roberto Saccà*

Herodias | Lioba Braun

Salomè | Vida Miknevičiūtė*

Jochanaan | Johan Reuter *

Narraboth | Matthew Newlin*

The Page of Herodias| Jurgita Adamonyte

Five Juden | Cristiano Olivieri, David Ferri Durà, Pietro Picone, Gregory Bonfatti, Antonio Feltracco

Two Nazarens | Roberto Abbondanza, Christian Hübner

Two Soldiers | Seung Pil Choi, Roman Astakhov

A Cappadocian | Francesco Leone

A Slave | Luciano Leoni

*debut at Teatro di San Carlo

Orchestra of Teatro di San Carlo

Production of Teatro di San Carlo

April 2021

SERIE BLU

Sunday 11 April, h 19.00 - Series A - Fee V

Wednesday 14 April, h 18.00 - Series B - Fee VI

Saturday 17 April, h 19.00 - Series F - Fee V

Tuesday 20 April, h 20.00 - Series C/D - Fee VI

Language: Sung in German with Italian and English surtitles
Running time: about 1 hour and 50 minutes, there is no interval

Neapolitan audiences have always appreciated Richard Strauss' works since, for about a century, it has been performed at Teatro di San Carlo more frequently than in any other Italian historic theatre. The last Salome by Manfred Schweigkofler comes back to the stage after 7 years conducted by Juraij Valčuha. This one act opera was introduced to German audiences for the first time in 1905 and enjoyed immediately a huge international success. The inventiveness of the music enhances the strong dramaturgy of the text, which was scandalous for its times. The piece is extremely contemporary and sets the biblical episode in a timeless horizon, which surrounds the spectator with powerful sounds and the chilling beauty of the moon. The most famous scene of the piece, Salome's long and sensual dance, reveals the epilogue. She obtains Herod's promise to give her the head of Jochanaan, John the Baptist, to fulfil her sick passion. The orchestration provided by the score is impressive and it contributes to drag the spectator in an inescapable hypnotic spiral.