The production is described as “Strauss’s MOST DANGEROUS opera,” with the company’s website humorously referring to it as a “20th-century palate cleanser.” This tongue-in-cheek comment likely reflects the relentless intensity of the work, which is fitting considering the ambitious nature of Regents Opera. The company previously garnered attention for staging Wagner’s complete Ring cycle at a historic boxing venue in East London, utilizing an orchestra of only 18 musicians, and received critical acclaim against the odds.
Now, back at York Hall, Regents Opera has assembled a 24-piece orchestra. Positioned at the far end of the venue from the majority of the audience and performing a custom arrangement by Nigel Shore, the sound produced was somewhat muted. Despite the energetic conducting of Ben Woodward, the limited number of musicians made it challenging to capture the lush string textures characteristic of Strauss’s work. Consequently, the stark contrasts between the score’s powerful climaxes and its eerie, sparse moments were less pronounced. However, this arrangement did create an unexpected clarity, which aided the singers, who had the advantage of a 20-meter runway stage that extended into the audience.
Some performers, however, did not require this advantage. Freddie Tong’s portrayal of Jochanaan featured a voice with Wagnerian depth, projecting his intense fury even with his back turned to the audience. James Schouten, as Narraboth, delivered an even more commanding performance, his rich and warm tone resonating from the lowest to the highest notes, while his somewhat awkward demeanor contributed to the drama. Mae Heydorn’s Herodias was fierce rather than melodious, her darkly covered tone becoming unwieldy in higher registers, creating an intriguing dynamic with Robin Whitehouse’s rather subdued Herod, portrayed as an ineffective gangster in a flashy white suit. Among the supporting roles, Felix Kemp and Davide Basso made notable impressions.
Ultimately, the success of Salome hinges on the performance of its titular character. Kirsty Taylor-Stokes emerges as the production’s standout asset, demonstrating her capability to tackle Strauss’s challenging vocal lines with a lush soprano. Her low notes were exhilarating, and while her upper register occasionally strayed into shrill territory, she effectively embodied the character. Director Mark Ravenhill’s contemporary interpretation features elements like East End flat caps and 80s shoulder pads, setting the scene at Herod’s birthday celebration, where Salome, the defiant teenager, dons a Guns N’ Roses T-shirt. In her Dance of the Seven Veils, she creatively appropriates clothing from others rather than undressing, moving with the grace of a trained dancer. While Ravenhill initially utilized the entire stage dynamically, by the conclusion, the remaining cast stood idly by, avoiding eye contact with Salome, who was captivated by Jochanaan’s severed head. Taylor-Stokes delivered a closing monologue that was both compelling and unsettling.
Performances are taking place at York Hall, Bethnal Green, until April 23.
