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Richard Strauss, Salome: Soloists, Metropolitan Opera Orchestra.  Patrick Summers (conductor) Metropolitan Opera.  16.10.2008. (BH) 

Salome: Karita Mattila
Herod: Kim Begley
Herodias: Ildikó Komlósi
Jochanaan: Juha Uusitalo
Narraboth: Joseph Kaiser
Page: Lucy Schaufer
Jew: Allan Glassman
Jew: Mark Schowalter
Jew: Adam Klein
Jew: John Easterlin
Jew: James Courtney
Nazarene: Morris Robinson
Nazarene: Donovan Singletary
Soldier: Keith Miller
Soldier: Richard Bernstein
Cappadocian: David Won
Slave: Reveka Evangelia Mavrovitis
Executioner: Reginald Braithwaite

Conductor: Patrick Summers

Production: Jürgen Flimm
Designer: Santo Loquasto
Lighting designer: James F. Ingalls
Choreographer: Doug Varone





Kim Begley, Karita Mattila and Ildikó Komlósi



Four years ago I indulged in the journalistic equivalent of frothing at the mouth, trying to capture every mote of Karita Mattila's brilliant portrayal of Salome at the Metropolitan Opera.  I even wrote about it twice (here) and (here).  This season she returned in the role, and although some changes couldn't be left unnoticed, this role will be forever linked to her as a decisive turn in her career, and the reprise was a triumph for others onstage and off.

Yes, Mattila is slightly older and more voluptuous than before, although I challenge anyone at her age to disrobe with such glee, and command the stage with the kind of abandon only great artists can.  What makes her so memorable is that she is not afraid to look delve into the character even when it makes "Mattila, the person" look awkward.  Whether gaily tripping down a wooden beam or sitting in a chair, lasciviously kicking her feet up, she is always inhabiting "sixteen-year-old girl," and not shy about showing her disparate thoughts and emotions.  And all of this is even before comments on her singing: suffice to say that she still nails the part with impressive control, accuracy, volume and tone, perhaps this time adding a few low growls where appropriate.  It was a stunning performance.

The conductor this time was Patrick Summers (replacing Mikko Franck, who was ill), who led a generally moderately paced reading—still exciting, make no mistake—but in contrast to Valery Gergiev's almost reckless speeds four years ago.  In the final scene, Summers's more expansive pace may have snapped the tension for some, but I found much to enjoy in Mattila and the orchestra on a slightly more leisurely ride to the finish line.  Summers did manage even more piquant colors from the Met Orchestra, lingering on some of Strauss's more sordid details in the low brass, and extracting excruciating tension from the big orchestral chords.

Juha Uusitalo

The big news this time around was in some of the other cast changes, most notably, the Finnish bass-baritone Juha Uusitalo as Jochanaan.  Even before he appeared, his voice rumbled up from the bowels of the cistern with the full, round sonority of someone who knows he speaks a holy message.  When he finally emerged, clothes caked with grime, his make-up only enhanced his large brow, partially shielding his eyes and adding to his formidable presence.  Kim Begley made an alternately lusting and cowering Herod, his feelings about his daughter crystal clear.  Ildikó Komlósi was haughty as Herodias, swinging bottles of champagne and passing out in disgust.  And Joseph Kaiser made a touching Narraboth, doomed to an early death.

Jürgen Flimm's production, with set by Santo Loquasto, might be a penthouse nightclub in Iraq, and provides ample playing space for the cast, most of whom wander around looking elegantly shocked as the evening grows more ghastly.  And Doug Varone's fetching choreography shows that Mattila still has the rhythm.

Note: I also caught the high-definition video broadcast (which will be encored on November 15), notable for the camera's cutting away during Mattila's brief flash of nudity during the "Dance of the Seven Veils."  While I don't quite understand why necrophilia is somehow more acceptable, perhaps this mild censorship portends a DVD release.  In any case, the filmed version makes highly effective use of close-ups.  If certain shots reveal Mattila's real age unflinchingly, never mind.  Her harrowing portrayal is given thrilling new intimacy.

Bruce Hodges

Pictures: Courtesy of Metropolitan Opera, New York

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