Richard Strauss' masterpiece of the stage gets an all-too rare outing in Adelaide. I remember seeing this opera when State Oepra performed it last in 1994 and was blown away by how vivid and exotic the score is. There is not a single "easy" part in this whole opera. From the first moment to the last (a nice call-back to "Game Of Thrones" watchers) it leaves the audience on the edge of its seat.
When the Opera Conference chose to mount a new production they chose director Gale Edwards to bring this sordid one-act tale to life. Doing that ensured it would not be a sandal and toga affair. Rather, Edwards has presented a dark, brooding and sexual affair of the most grotesque kind. The single set functions well enough to set the stage with not-so-subtle imagery of dead carcasses off the back wall and a red hue to all the lighting and costumes.
The production team should be applauded for keeping things visually interesting without over-blowing our senses (leaving that job to the wonderful music of Richard Strauss).
In the title role, Kate Ladner proves once again that she is one of Australia's finest leading ladies. Not only does she have the vocal ability to tackle the demands of this score, but every nuance of her character is played out in her gestures, body movements and thought processes.
As her depraved step-father, Herod, Hubert Francis is an absolute standout. Every bit the depraved ruler, he makes every member of the audience feel slightly violated. Vocally he totally nails this role to the back wall and his acting is on par with the best around the world.
Elizabeth Campbell provides a solid support for Ladner and Francis as the much-maligned Herodias. I simply cannot remember a role where Campbell has given less than 100%.
Douglas McNicol (almost unrecognisable under heavy makeup) is a brilliant Jokannan. Like the rest of his castmates, his vocal abilities are beyond question and he gives a much less pious performance of the doomed prophet than we have seen in the past.
Bradley Daley as the love-struck Narraboth and Anne Marie Gobbins as Herodias' Page round out the major players superbly. Local talent including Adam Goodburn, Andy Turner, Thomas Millhouse, Bernard Hull and Robert McFarlane fill out the smaller roles with much gusto and relish.
Arvo Volmer and the ASO performed wonders in the pit but I fear their exuberance led many passages being sung to be inaudible to the audience. The dance of the seven veils, however, was one of the most breath-taking moments ever heard in the festival theatre (and the ensuing dance onstage was cleverly executed by Ladner and several dancers).
This opera- at 100 minutes- is almost as draining on the psyche as the 6-hour "Parsifal". Both of these are in my top 10 operas of all time and State Opera have pulled another gem from their hat.
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