LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Re: Salome
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Sat, 17 Dec 2016 19:17:27 -0500

text/plain (78 lines)

For me, that interpretation makes an even stronger case for the tenor to sing the cadential 
upward scale that Strauss actually wrote (on "-te dieses weib") instead of avoiding the 
pitches altogether. Screaming the line to me feels more like a loss of control - singing 
those last pitches could be more of a creepy "handoff" to Herodias, in the below scenario. 
(Followed by the outburst in the orchestra, which can represent the big yell that Herod 
decides to cap.)

On Sat, 17 Dec 2016 17:52:02 -0500, Dennis Ryan <[log in to unmask]> wrote:

>Hi, Y'all!
>    I really rather liked the delivery of that last  line.  But then, I am
>in a distinct MINORITY about Herod's primary  motivation for delivering it,
>even though there are other motives  clearly driving him as well.  Most
>people seem to believe that  Salome's kissing the lips of John the Baptist's
>severed head is at last a  deed that even Herod finds to be beyond the moral
>pale,  so that even HE is at last offended by the immorality that he has
>sanctioned and, indeed approved of and encouraged at his court.  I see  this as
>a lesser factor, here, just as his lust for Salome is less  a driving a
>force than another, more powerful one.  Given the  immoralities that have been
>seen, heard, spoken, and done at Herod's court, not  only during the course
>of the opera but during the history of his reign, and all  with his total
>approval, Herod would quite logically find "the kiss"  ironically amusing, and
>would positively chortle his approval.  No matter  how he may "lust" after
>Salome, the love of Herod's life is Herodias.  This  "love" has always been
>expressed through an intense love/hate  relationship that has run so deep
>that it has become a defining life experience  for both of them.  The opera
>merely depicts the latest round in Herod's and  Herodias' years-long game of
>"Who's Afraid of Virginia Woolf," in which they  have been playing the roles
>of George and Martha with great  enthusiasm--one-upmanship carried to the
>extreme.  In my imagination, I can  clearly visualize Herod, after delivering
>that final line, turning to his wife  with the most lovingly vicious smirk
>that he can muster, and growling, "The ball  is now in your court, my dear."
>    Cheers,
>    Dennis Ryan
>In a message dated 12/17/2016 4:12:06 P.M. Central Standard Time,
>[log in to unmask] writes:
>It does bother me when tenors "fake" too much of Herod - I'd say  today's
>tenor did pretty
>well with the role. I didn't like his yelling the  last line, though.
>OPERA-L on Facebook:
>To UNSUBSCRIBE, send a message to [log in to unmask]
>containing only the words:  SIGNOFF OPERA-L
>To stay subscribed but TURN OFF mail, send a message to
>[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
>Modify your settings:

OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager