Os recursos do palco em Budapest são bem apropriados à representação teatral da ópera, cenário e jogo de luzes muito bons e menos greco-romanos e o desempenho de Sera Goesch é excepcional tanto de representação como de voz. Em outras apresentações da ópera, o corpo sem a cabeça de João Batista não é trazido à frente da tribuna arrastado por cordas, onde se encontram assentados em suas cadeiras também Herodes e sua esposa, permanecendo em cena na parte baixa apenas Salomé em delírio neurótico de arrependimento a segurar a cabeça decepada do amado, até a chegada dos soldados que a matam sob as ordens do Tetrarca.
Dear Mario Stella, Thanks for posting this! First class piece of hyper-expressionist psycho-drama! A more Freudian than Freud exhibition, and in some ways more shocking than Berg's Lulu. There are several reactionary formalist fools in the comments section, who are tut-tuting at her hysterical, edgy vocal gymnastics. But they are just like the idiotic music critics mocked by Strauss in "Ein Heldenleben". The Dr Syntaxs of the opera house. The psycho-dramatic point is that Salome is attempting the impossible - to love John the Baptist at full erotic power, yet to crush his existetnial status into nothinness becasue her defies her young woman's furnace-hot sensuos energies, and is dreaming only of his dreary Abrahamic male god, and of her being stoned to death as "a daughter of Sodom!" In effect "John the proefesioan Virgin for Christ" is saying to Salome, I don't fuck women, I only want to make love with Jesus and my masculine god. Hence she ends up (quite rightly) ordering his execution, and then trying to reverse her dead-end decision, by fucking his lifeless amputated head,, as best she can! Wilde certinyl new how to wind up those bourgoies sons and daughers of British imperialism, sitting open-mouthed at his play! There are sevral additonal radical feminist points to be made: (1) in text-book Electra style, Salome enjoys giving her step-father a nice stiff erection by dancing for him, whilst he slavers at the prospect of making love with her. Like almost all bourgois patriachal fathers. (2) indeed, what idiots are most hetrosexual, genitally-centred, heteronormative and patriachal men! What infantile emotional degenerates. Trying simultanously to make love with (a) mother-subsitutes, (b) persons on a moral and psychical equal standing, in an act of quasi-Buddhistic, ego-dismantling, mutual and transcendental love (impossible for most narcisitc men), (c) daughter figures whom they want to fuck in a mixture of rapacious domination and perverse protective erotic embrace. Yuk! (3) Salome is however, hardly beyond reproach, despite being enmeshed in this asphyxiating patriachal woman-hating hot-house. It is one thing to treat her father as a patriahal fool and doormat, and enjoy winding him up. It is another and unwiser and deeper piece of self-destructive behviour, to corner herself, pychodynamically speaking, with unrequitted love for a love object she has destroyed. All round excellent music-drama. However, as a radical feminst, I've never liked Wilde's distatefull phallocratic denoument of the play. Even if it is obvious where his sympthies lay, and who the villainas are. Whereby the Tetrach in a disply of ghastly masculine phalloratic rapaciosu and murdering power, orders his male guards to peice Salmoe to death, with thier serried penis-spears. Veyr nasty indeed. Whislt artisitc hubris is never far away, had I been wring a suitably progressive and feminist cathartic conclusion, I would have had Salome undergoing a moment of womanly polyamorous enlightenment. She resolves on psychodynamaically setting-aside her JBO (John the Baptist Obsession), and embarks upon fucking all the guards, in delciously female-positive polyamoiy. A "Dance of her pussie and vagina up and down the Seven Guardsmen's Penises", so to speak! Then standing up, with semen dripping from her vaginal lips! Sinbing, "Look you frustrated rapacious perverted Tetrach, your vassals can fuck me for hours, but you are reduced to masturbating at the thogh ot goinf so. So fuck you!" And the closing line would be Herodias' repeating her droll and mocking observation, "My daughter has done right!" Whilst Salome is licking the tasty semen from her fingers! Imagine Wilde writng that, and Strauss orchestraing that vocal line! Va va voom! Love, andrea (radical feminst Marxist and music-lover)
Ihr seit eine herausragende Gruppe . Diese Lied singt ihr mit euren Stimmen einzigartig , es bewegt mich zutiefst und Tränen steigen in meine Augen .. Großartig und bewegend Ich wünsch mir mehr Lieder von euch ....
fenomeno come voce che deve essere bene impostata da un bravissimo insegnante ne sentiremo parlare comunque studia che hai tantissime possibilita' carlo da busseto
Forced lyric too small and constricted voice. Watch her flapping jaw for example. Schrecklich… Lacks depth of tone, this is a Susanna in Figaro with wrong advice from people who don’t care or are unable to care.
