06. March 2020 - 02. May 2020
- For the last time this SeasonSat 02.05.19.30 - 21.15 h
- Musikalische Leitung Aziz Shokhakimov
- Inszenierung Tatjana Gürbaca
- Bühne und Licht Klaus Grünberg
- Kostüme Silke Willrett
- Dramaturgie Anne do Paço
- Herodes Sergej Khomov
- Herodias Renée Morloc
- Salome Agneta Eichenholz
- Jochanaan Alexander Krasnov
- Narraboth Ibrahim Yesilay
- Page Karina Repova
- Erster Jude Johannes Preißinger
- Zweiter Jude Florian Simson
- Dritter Jude David Fischer
- Vierter Jude Edward Mout
- Fünfter Jude Peter Lobert
- Erster Soldat Luke Stoker
- Zweiter Soldat Günes Gürle
- Cappadocier Tomas Kildišius
- Sklave Maria Boiko
- Erster Nazarener Marko Spehar
- Zweiter Nazarener Luvuyo Mbundu
- Orchester Düsseldorfer Symphoniker
Salome wants to break out of the situation in which she in living. She is fascinated by a stranger’s voice. This belongs to Joachanaan, held captive by her step-father Herodes. However, the worlds that collide here could not be more divergent. Driven into an orgiastic frenzy by Jochanaan’s escapism, Salome escalates into the only category she can understand: as property. What follows is a horrific ritual of destruction...
“The play is crying out for music,” Richard Strauss concluded about Oscar Wilde’s stage play in 1902 and immediately began setting it to music of an overwhelming sensuality – now in repertoire again at Opernhaus Düsseldorf in Tatjana Gürbaca’s “at times grotesquely exaggerated images,” which “dig remarkably deep into the original” (Ralf Tiedemann, Opernglas).
Bühne und Licht
They are interrupted by a voice from the depths of the building. It is the call of the prophet Jochanaan, who has been imprisoned by Herod, since he has not only become a public enemy because of his prophecies of the dawn of a new era, but also has been causing private discomfort by denouncing the lascivious ways of Herodias and the marriage she has made by means of adultery and fratricide.
Salome feels the deepest fascination for the strange voice. Though Herod has strictly forbidden any contact with the Prophet, she succeeds in persuading Narraboth to bring her the prisoner. Jochanaan’ s strange appearance, his passionate accusations and his demand for a new approach to life awaken in Salome the desire to make contact with the man – to touch his hair, his body, to kiss his lips. But Jochanaan roughly draws back and curses her. Narraboth is driven to stab himself.
Herod and Herodias come to quarrel over the Prophet. Herodias demands to have him brought to silence. Herod for his part senses a “holy man” in him, and in this he triggers off animated argument among his guests. The Jews see him as an impostor, while the Nazarenes hold him in awe as the harbinger of a new dawn.
Herod begs Salome to dance for him, offering her fulfilment of every wish. Herodias urges her daughter in vain not to do so. Salome’s dance unveils the truth about her situation. Herod is more and more carried away by her performance. The re-ward which Salome demands is Jochanaan’s head. Horrified, Herod tries to dissuade her. In vain he offers all his riches and half his kingdom, in an ecstasy of brutality and desire Salome sings her showdown with the entire world in which she has lived.