Vienna Opera Blog

By Oliver Macdonald



Opera Correspondent Oliver Macdonald is an Irish opera lover who lives in Vienna.  His service career as a military officer brought him to 42 different countries, many of which had opera houses. Oliver’s opera interest began at age 13 when his school twice a year attended performances of the Dublin Grand Opera Society (1941-1966).  It was here in 1962 that he recognized the potential of a young Italian tenor, Luciano Pavarotti, amongst others. A fortuitous military posting to Wexford in 1967 opened the doors to the Wexford Festival Opera which he attended for many years.  A posting to Vienna in 1999 has led to attendance at more than 1800 opera performances there since. From 2001 he spent four years at the best Opera University in the world - the queue for tickets for Stehplatz Parterre at the Vienna State Opera. Oliver wrote a column called "Nights at the Opera" for Austrian newspaper, and had an "opera in Vienna" blog. He has been a Commentator for all the Opera houses in Vienna.

Vienna State Opera House at night, Austr
  • Oliver Macdonald


Updated: Dec 6, 2019

Wiener Staatsoper, Vienna 01 October 2019

Salome is the biblical story about the stepdaughter of King Herod, Princess Salome who forces the Tetrarch (king) to give her the severed head of Jochanaan (John the Baptist) on a silver salver as a reward for dancing for him. It is based on the synonymous play by Oscar Wilde. The opera is not accessible either as a story, perhaps better not seen immediately after dinner, or vocally, where the demands are truly Wagnerian, but the music can only be expressed in superlatives.

Herod is married to Herodias who was married to his brother, Philip and is the mother of Salome. Jochanaan is a prophet who is imprisoned in a cistern in the palace courtyard. Herodias wants him bumped off, but Herod is afraid of divine repercussions. Narraboth is the captain of the palace guard in charge of the prisoner. He is totally smitten by the beauty of Salome, so the whole place is reeking of lust: Herodias who abandoned her husband for Herod; Herod who is consumed with passion for Salome; Salome who insanely lusts after Jochanaan's body. She sings to him of her love for his body in lyrical terms of color: the whiteness of his skin; the blackness of his hair and the redness of his mouth. Poor Narraboth can't resist the power of her will to see Jochanaan and ends up doing a local version of Hari Kari. Salome just walks over his body without even noticing him lying beneath her feet. It gets worse and worser!

The whole translates into a cauldron of inflamed passions which are brilliantly conveyed by Strauss' spellbinding music and the dramatic vocal requirements needed to express these passions. It continues unabated for close on two hours. Herod (Jörg Schneider) and his wife Herodias (Linda Watson) are relatively late arrivals on the scene. They were a great vocal and dramatic match, radiating self-indulgence and constant tensions of domestic conflicts. Narraboth (Lukhanyo Moyake) was a convincing character, torn between duty and passion. A lot of his role is silent as he is lying dead on the stage as Salome walks all over him and has to stay there until Herod has the corpse removed. There is one voice of reason in this maelstrom of evil passions. That is the Page, who was gracefully played and sung by Margaret Plummer. Then there the fillers. Five Jews, two Nazaarenes some soldiers and the man with the Axe. Their positions and outlooks add to the tensions and conflicts being played out. However high the demands on all these characters are, this story is about one person - SALOME

The vocal demands are for a dramatic soprano who can give it all for almost two hours, who can portray rapidly changing moods consistently, whose momentary flashes of hesitation are a tiny gesture, whose expressions of lustful desire are achingly subtle, whose dancing with seven veils keep not only Herod but an audience of almost two thousand people riveted to their seats for sixteen minutes, who can gaze with uncertainty at a blood-dripping head for ages before fulfilling her goal of kissing his mouth. And the taste? Bitter! Bitter like love? Herod is so disgusted and lost he has her killed on the spot.

Ausrine Stundyte, from Lithuania, made her debut in the Wiener Staatsoper as an incredibly perfect Salome. Her singing, note-perfect throughout this marathon, and the subtlety of her dramatic awareness and expression were Mirabile visu. She is a supernova. She is also beautiful, with ivory white skin, jet black hair and a rose red mouth.

I hope she comes back soon.

Oliver Macdonald

Vienna 02 October 2019

More information regarding this Opera, go to

34 views0 comments

Recent Posts

See All

La Bohème

Wiener Staatsoper, Vienna 29, September 2019 At last it has happened ! !t was wonderful and played not only to a full house but also to an extra 300 people gathered on Karajan Platz to watch it on the

A Midsummer Night's Dream by Benjamin Britten

Wiener Staatsoper, Vienna. Premiere 02 October 2019 Several of Shakespeare's plays have become successful operas: Falstaff, Hamlet, Macbeth, and Othello being examples of this. Many of his plays cente