Richard Strauss’s Salome, based on Oscar Wilde’s play, remains one of the most daring and unsettling works in the operatic canon. Premiered in Dresden in 1905, it shocked early audiences with its erotic intensity and psychological violence — and over a century later, its impact remains undiminished. In this concert performance, with no costumes, sets, or staging, the story was told entirely through voice and orchestra — and it was, in every way, electrifying.
Strauss’s score, famously rich and unrelenting, drives the drama forward with overwhelming force. The climactic moment — when Salome kisses the severed head of John the Baptist — was rendered not with visual horror but with musical extremity. As the orchestra surged and screamed, it was left to the imagination to fill in the grotesque image — arguably more powerful than anything a stage might show.
Lithuanian soprano Asmik Gregorian, who rose to fame in this role in 2018, delivered a searing performance. Her voice, luminous and flexible, captured Salome’s transformation from coquettish fascination to destructive obsession. Even without theatrical aids, Gregorian made every emotional turn clear. Her final scene, one of the most demanding in the repertoire, was sung with extraordinary control, clarity, and commitment. That she could be heard over the massive orchestration, without ever forcing the tone, is testament to her artistry. It was a true tour de force.
As Jochanaan, Michael Volle brought immense vocal authority. Heard first offstage, his voice emerged like a prophecy — resonant and imposing. He sang with unwavering strength, conveying moral certainty in contrast to the madness unfolding around him. His final curse, “Du bist verflucht”, was delivered with such gravity that it seemed to seal Salome’s fate.
Wolfgang Ablinger-Sperrhacke gave a nuanced performance as Herod, bringing a sense of psychological instability and revulsion without resorting to caricature. He used the German text with great specificity, every word revealing Herod’s descent into dread. Sitting silently, wringing his hands in despair as Salome became transfixed on Jochanaan’s head, Ablinger-Sperrhacke’s minimal physicality was enough to make the scene chilling.
Violeta Urmana portrayed Herodias with dramatic vocal force. A former dramatic soprano, her mezzo-soprano voice retained weight and bite — fitting for a character who shares her daughter’s appetite for vengeance.
Among the supporting cast, John Findon gave a lyrical and deeply expressive performance as Narraboth. Niamh O’Sullivan was an affecting Page, and Liam James Karai sang the First Nazarene with clarity. The ensemble of five Jews, placed behind the orchestra, were occasionally difficult to hear — one of the few practical drawbacks of the concert format.
The Royal Opera House Orchestra, under Sir Antonio Pappano, was in magnificent form. Pappano, conducting Salome for the first time here, shaped the score with insight and audacity. He allowed the full power of the orchestra to erupt when needed, yet managed to keep the singers clearly audible — no small achievement given Strauss’s immense forces.
The Dance of the Seven Veils was a musical highlight, pulsing with sensuality and decadence. Without choreography or costume, it was left entirely to the orchestra to tell the story — and Pappano made it shimmer, seduce, and ultimately unnerve. The final scene, from Salome’s rapturous monologue to the sudden collapse of sound with her death, was gripping to the last note.
This concert performance of Salome proved that theatrical intensity does not depend on staging. With Strauss’s incandescent score in the hands of a great conductor, and a cast fully committed to the opera’s psychological depths, the story was told as powerfully as in any fully staged production. The audience was left breathless. One performance remains — if you can get a ticket, do not hesitate.
Barbican Hall, Barbican Centre
OPERA IN ONE ACT – Concert Performance
Music by Richard Strauss (1864-1949)
Libretto Hedwig Lachmann’s German (Based on Salomé by Oscar Wilde)
Conducted by Sir Antonio Pappano
Photo Credit Andy Paradise
Cast includes Asmik Grigorian, Michael Volle, Wolgang Ablinger-Sperrhacke, Violetta Urmana, Niamh O’Sullivan, John Findon, Liam Jamas Karai, Alex Otterburn, James Kryshak, Michael J Scott, Aled Hall
Running time 1 hour 50 minutes without interval
Performances on 11and 13 July 2025