Salome

Hanna Schwarz as Herodias and Erika Sunnegårdh as Salome. Photo by Michael Cooper.

While Richard Strauss' Salome is often considered a modern opera, the Canadian Opera Company's current production, directed by Atom Egoyan, reexamines the parameters of that classification, asking what presently defines modern. This version bestows a dramatic juxtaposition, in that visually the audience is presented with an incredibly avant-guard conceptualization, in contrast to a libretto filled with historical and biblical references. Adapted from the play by Oscar Wilde, Salome is a piece riddled with metaphors, offering subtle insights into each character’s perspective, as their tangled tale of mutual obsession unfolds. 

Harod (Richard Margison) is married to Herodias (Hanna Schwarz), however he has now turned a lustful eye towards her daughter Salome (Erika Sunnegårdh). To avoid her stepfather’s unsettling gaze, Salome leaves his party where she encounters Narraboth (Nathaniel Peake), the captain of the prison guard who is also consumed by Salome’s beauty. Imprisoned below the palace is an unusual man Jochanaan (Martin Gantner) that some call a great prophet. (It is important to note that this character is John the Baptist imprisoned for chastising the King and Queen for their sins.)

Upon hearing Jochanaan’s ranting prophases rising from below, Salome becomes curious and persuades Narraboth to allow her to see the prisoner.  Salome falls madly in love with Jochanaan, however the strength of her passion is matched by his obsession with God and he dismisses her, cursing her and demanding repentance. Salome flies into a fit which brings to life William Congreve’s famous words "Heaven has no rage like love to hatred turned, nor hell a fury like a woman scorned."

Visually, designer Derek McLane's set is minimalistic, with modern, clean lines paired with limited onstage distractions and simplistic costumes. Reflecting the tension this piece naturally radiates, the main portion of the stage is at a significant angle throughout the duration of the production, giving each scene a precarious feel. As an audience member I felt for the cast, but I have to say they navigated the unusual stage angle smoothly, and vocally they came across unaffected.

Director Atom Egoyan also uses a series of films, cast against various screens throughout the production, adding a strong modern element which, when paired with the costumes, creates an almost sci-fi, surreal experience. Be sure to book a cozy post-show booth nearby for a glass of wine as I’m sure Egoyan’s unique execution will spark many post-show discussions.

Salome runs until May 22 at the Four Seasons Centre for the Performing Arts. Visit coc.ca for more information and to buy tickets.

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