The emotion is palpable, and the Loretto-Hilton Center almost trembles as Kelly Kaduce drives to the climax of "Salome," in fiery style, blazing with youthful passion amid the rumbling thunder of a hormonal storm. The Opera Theatre of St. Louis production of the Richard Straus work opened Saturday night and will blaze across the stage six more times through June 28, when it rings down the curtain on the 2009 season.
Kaduce is galvanizing in the role, adopting it to her very soul, moving from fear to curiosity to admiration and eventually to lust and unbridled passion as she caresses the blood-dripping head that once adorned the shoulders of Jokanaan, the prophet, known as John the Baptist in a Biblical episode.
On Bruno Schwengl’s stark, compelling set, perfectly lighted by Paul Palazzo, Jokanaan’s voice, like that of a doomsayer, comes from behind a formidable door, a circle that is a perfect contrast in the midst of a series of rectangular lines. He curses Salome’s mother, Herodias, insulting her as an immoral, wanton woman. Salome hears this, is infuriated but also curious about the statements.
Her family is marvelously dysfunctional, comparable to that of Hamlet. Her stepfather, King Herod, lusts after her, and her mother is a shrew of the worst order. In his cups after a palace party one night, Herod begs Salome to dance for him, offers half his kingdom in exchange, but prompted by her mother, who fears the bearded, truthful prophet, she asks for his head on a silver salver–and then she revels with it in an orgy of bloody passion. The scene runs a little long, but it is powerful stuff, and the opening-night audience seemed transfixed.
Kaduce’s voice is warm and rich, and her dancing, while not exceptional, is satisfactory and sexy as she whirls behind long, rich scrimmy veils that show her off and cover her at the same time. It’s a memorable performance.
Sean Curran makes his OTSL directorial debut in masterful style; doubling as choreographer makes him that much more in control (he also will serve as choreograher for "Ghosts of Versailles" later in the season). James Robinson, the artistic director of OTSL, worked with him as dramaturg and consulting director and the veteran Stephen Lord, in his 23rd season with the company, conducted with a lovely touch.
Baritone Gregory Dahl is outstanding as Jokanaan, rigid as any zealot and stubborn in his righteousness, and Michael Hayes and Maria T. Zifchak are a perfect couple as Herod and Herodias, respectively. But the night belongs to Kaduce, who displays just why the "Dance of the Seven Veils" has remained so legendary in song and story for thousands of years.
An Opera Theatre of St. Louis production at the Loretto-Hilton Center; performances June 3, 5, 11, 20, 24, 28.
-Joe