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Waltraud Meier © Nomi Baumgartl

Strauss R. Salome

From 01 March TO 08 March 2023
Nationaltheater - München
Program

Strauss R. : Salome

Cast
  • Conductor
    Mikko Franck
  • Director
    Krzysztof Warlikowski
  • Performers
    Salome: Vida Mikneviciute
    Jochanaan: Iain Paterson
    Herodes: Gerhard Siegel
    Herodias: Waltraud Meier
    Narraboth: Evan LeRoy Johnson
    Ein Page der Herodias: Christina Bock
Premium Category

Spatenhaus an der Oper

Residenzstraße 12

80333 München

 

This offer includes a ticket in the category chosen with the meal before or after the performance (thanks to precise your choice when booking your tickets) at the Spatenhaus an der Oper 

« Dish + Dessert » Drinks not included

Please choose : Fish, Meat or Vegan plate, thanks to precise your choice when booking your tickets

Open daily from 11:30 am to 00:00am, the kitchen closes at 22pm

 

The Spatenhaus an der Oper embodies Bavarian cuisine in its most refined form . Beautifully situated right opposite the Bavarian State Opera is celebrated in the traditional Munich Haus at great expense a fine Bavarian cuisine.

  • Venue Info
  • Seating Plan
  • Synopsis

Nationaltheater - München Location Max-Joseph-Platz 2 - 80539 München Allemagne

  • Venue's Capacity: 2100

The history of Munich's actual theatre truly only begins at the end of the eighteenth century. Indeed, after over a century of infatuation for Italian opera, which was manifest in the construction of the Théâtre de la Cour (now called the Théâtre Cuvilliês, still active), local inhabitants began to feel the need for a German lyrical art. German repertoire, as Mozart appealed for, active in Munich especially during the premiere of his IDOMENEO, but also, a German theatre, since the Theatre de la Cour was limited to Italian art. The Napoleonic wars and King Maximilien I's sudden passion for the Odéon Theatre in Paris postponed this project.

The public thus waited until 1818 to discover its « National Theatre, » a subtle and luxurious synthesis of various styles: loggias in the Italian tradition cohabited with innovations from the French school of architecture. One of the noveltieswas a reservoir of water destined to be used in case of fire, but which nevertheless did not save the buildîng from flames in January 1823 ; the water was frozen! The Opera was reconstructed, financed by a special tax on beer: perhaps an original means but one yielding a particularly high return! After these rather tumultuous beginnings, the National Theatre reopened in 1825 and became the hotbed of German lyrical art. Four of Wagner's operas were premiered there between 1365 and 1870 (TRISTAN UND ISOLDE, Da MEISTERSINGER, DAS RHEINGOLD, and DIE WALKÜRE).

Wagner, of course, but also Mozart and Richard Strauss soon became the pillars of the Theatre's repertoire during the first half of the twentieth century, thanks to the talent of conductors such as Bruno Walter, Hans Knappertsbusch, and... Richard Strauss, himself a native of Munich. Strauss saw two of his operas premiered in his home town: FRIEDENSTAG (Peace Day, 1938!), and CAPRICCIO (1942). The libretto of the latter was elaborated with the help of the conductor Clemens Krauss, who was then Director of the Opera. The fact that the building was destroyed during the war did not prevent the company's tradition from being perpetuated.

Between 1952 and 1967, the institution was directed by Rudolf Hartmann, a former assistant to Richard Strauss and Clemens Krauss. The former 1818 edifice was reconstructed in 1963, after much hesitation as to whether or not to erect a modern hall. The long reign (1971-1992) of conductor Wolfgang Sawallisch, a distinguished representative of the tradition composed of rigour and commitment, is an example of the perserverance with which the Bayerische Staatsoper comes to terms with the legacy of its brilliant past.

Nationaltheater

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Salome

SALOME OPERA


Salome is the most attention-grabbing and an incredible French play which was written by Oscar Wilde. The play has been translated further to German wordings, by Richard Strauss and is based on Hedwig Lanchmann translation.

This play by Richard Strauss is renowned for it is referred to as the dance of seven veils based on biblical account.
The play focuses on the Herodias daughter, her bizarre relationship with john the Baptist leads to her end and her father. It has a superfluous disgusting preceding scene in which Salome declare her love and kisses the detached head of John the Baptist.

This is the most interesting play to watch, it is well-matched to melodic adaptation. Moreover the playwright has used refrain and frequent motifs. Therefore, making it more musical and can collectively been referred to as ballad.

HISTORY

The play was first written by Oscar Wilde in French. It was further composed in German by Richard Strauss and after which it became more popular. The history of the play is deep and long, it was also performed in New York by Mary Garden in 1930s. In 1930, Strauss also made another version of the play in French which did not hit and was later revitalized in the year 1990 in Lyon, and the performance was recorded by Kent Nagano and Karen Huffstodt.

In 2011 it was edited by Liège opera. It was first performed in Dresden 9/12/1905 at the semperoper. It was allowed o be performed at Vienna State Opera in 1918. Up to date it is a renowned play with several recordings.

Act 1

The story takes place in Galilée, at Tiberias, Year 28.

Narraboth is madly falling in love with the princess who is exhausted of the feasting in the house, so she goes on to the terraces to get a fresh air.


Suddenly, she finds herself facing Narraboth who is the head of the guard. The captain is possessed by the beauty of the princess. Jochanaan the prophet is heard screaming from the palace cistern, and this makes Herod to fear, and warns everybody not to concentrate on him.

Act 2

King Herod and his colleagues move to the terraces after their banquet. Narraboth tends to approach the princess in spite of the Herodias opposition, but unfortunately the princess declines. Jochanaan shouts again cursing Herodias, however the king is afraid to tell him to remain silent. Herod hears the discussion of two gents from Nazareth speaking about the miracles by Jesus and he is frightened.

Act 3

Herod finally urges his daughter to bop with him, and vows to give her whatever she asks for, including half his realm. She accepts to join him in the dance regardless of Herodias objection. As they continue to dance, the princess undresses in front of her stepfather. She then asks for the Head of Jochanaan on a silver plate.

Herodias is happy although Herod becomes doomed he accepts. The princess is very happy and takes the head of jochanaan and kisses it.

MAIN ROLES


Salome, his daughter and niece, soprano

Jochanaan, John the Baptist, baritone

First soldier, bass

Second soldier, bass

 Herodias, his wife and sister in law, mezzo-soprano

The page of Herodias, contralto

© Bayerischen Staatsoper

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