OPERA REVIEW OF CAPITOL OPERA'S PRODUCTION OF
SALOME
By William Glackin, Sacramento Bee, Published: Nov. 12, 2001
"Salome an ambitious success"
Even without considering the odds against it, the Capitol Opera Sacramento production of Richard Strauss' first operatic hit, "Salome" shapes up as one of the most interesting and successful shows this small but ambitious company has ever done.
Based on a biblical story and a play in French by Oscar Wilde, the opera was banned a century ago because of its "scandalous" Dance of the Seven Veils. It has long since outlived that, and people today are also not likely to be shocked when Salome, having succeeded in having John the Baptist's head cut off, insists on kissing it on the lips.
But the drama, in this tiny but comfortable playhouse in Carmichael, remains so convincing that we can believe that Herod, Salome's father, can't tolerate the sight of this sign of her obsessive passion.
That's almost all you have to know about the story. The major facts about the production are that some powerfully good voices are in the cast and that a musician and computer wizard named Gerald Rheault has done an amazing job of taking the score apart note by note and putting it together again on tape.
Producer Kathleen Torchia-Sizemore has always had to get by with modest accompaniment, often piano and violin, but this was felt to be impossible with an orchestrator like Strauss. This is the first time the company has ever sung to a tape. But it definitely sounds like Strauss when his unmistakable modulations melt with the strong voices in the cast.
The direction of Ken Figeroid, who is credited by Torchia-Sizemore with originally suggesting the production, also works well to make the drama convincing, despite some occasional static or awkward moments. He and Roger Smith solve the scenic problems pretty well, too. (John is imprisoned in an onstage cistern much of the time.)
Salome is a taxing role to sing, and soprano Karine Eva Darrah was impressively strong and artful in it Friday night. She was more than just willful; her bargaining with the reluctant Herod for John's head had convincing overtones of humor and self-satisfaction. As Herod, Wolfram Bernhard Meyer showed equally impressive qualities of ringing power and range and gave the foolish despot intelligence.
As his caustic wife, Herodias, Kirsten Zadekia Xanthippe was also first rate. Randy Kilgore's stubborn John was also excellently believable. Also extremely well sung was Figeroid's Narraboth, the guard captain eagerly chasing Salome.
As for the notorious dance, it will shock nobody (no nudity, bodysuit) but was very well done. Good choreography by Gino Platina added four dancers -- Katie Wood, Courtney Delaney, Taylor Owings and Pamela Lourentzos -- to good effect, integrating Salome with their cool accompaniment.
Caryn Hartglass alternates with Darrah as Salome. The opera is in one act, 95 minutes.
