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Riccardo Chailly © Marco Brescia & Rudy Amisano

Strauss R. Salome

From 08 March TO 31 March 2020
Teatro alla Scala - Milano
Program

Strauss R. : Salome

1 h 40
Cast
  • Conductor
    Riccardo Chailly
  • Director
    Damiano Michieletto
  • Performers
    Salome: Malin Byström
    Jochanaan: Michael Volle
    Herodes: Roberto Saccà
    Herodias: Anna Maria Chiuri
    Narraboth: Attilio Glaser
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  • Venue Info
  • Seating Plan
  • Synopsis

Teatro alla Scala - Milano Location Via Filodrammatici, 2 - 20121 Milano Italie

  • Venue's Capacity: 2000

The Venue's History in few words …

After fire destroyed the Royal Ducal Theatre, Milanese aristocrates took no more than twelve days to design a new theatre and send their plans to the Empress Maria Theresa. Two years later, in 1778, the new opera house was inaugurated, on the site of the Santa Maria alia Scala Church. The Teatro alia Scala wasted no time in becoming one of the best: all of Europe came to admire the flamboyant costumes, the impressive chorus, and the singers, famous for their dramatic finesse. The audience was a show in itself: people visited in their respective boxes, exchanged the latest news, dined, and played cards... A tradition that is now lost to the ages, while the Scala's public nonetheless still knows how to make itself heard if it completely disagrees with a trill, or when it enthusiastically applauds a prima donna.

During the nineteenth century, competition from the Teatro di San Carlo in Naples, which then attracted the peninsula's best voices, obliged the Milanese opera house to undergo renovation, which it did with panache! Rossini's, Bellini's, and Verdi's names were henceforth linked to that of the illustrious house, and the history of Italian music was written within its walls. Works such as NORMA, NABUCCO, II TURCO IN ITALIA, and FALSTAFF were premiered here, while singers such as Isabella Colbran and Maria Malibran triumphed on its stage.

The end of Verdi's reign ushered in the beginning of Toscanini's. Despite his famous temper tantrums, the Italian conductor formed an orchestra and a permanent company which imposed new standards of quality the world over. Those were the days that one could sing at the MET only under the condition of having been previously consecrated on the Scala's stage...

The Scala was destroyed in 1943. Rapidly reconstructed along the original plans, the house has never lost its soul, thanks to artists such as Giulini, Kaum war die Herrschaft Verdis zuende, Callas, Karajan, and Tebaldi, who all once trembled at the idea of appearing in the light shed over the stage by the hall's huge Murano crystal chandelier.

Teatro alla Scala

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

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