Regents Opera's Salome Review: Clarity and Fury at York Hall
Regents Opera presents a lean, dynamic production of Richard Strauss’s Salome at London’s York Hall, directed by Mark Ravenhill with distinct gangsterish overtones. Following their ambitious staging of Wagner’s Ring cycle, the company utilizes a 24-piece ensemble arranged by Nigel Shore. While the reduced orchestra lacks the lush textures of the full score, it provides unusual clarity and better balance for the singers on the runway-style stage. Conductor Ben Woodward leads with energy, though the musical contrast is somewhat limited. Vocal performances are highlighted by Freddie Tong’s powerful Jochanaan and James Schouten’s rich Narraboth. However, the production’s centerpiece is Kirsty Taylor-Stokes as Salome. Her performance is praised for both vocal prowess and compelling acting, particularly in a modernized Dance of the Seven Veils where she seizes clothing rather than stripping. The review notes the effective use of space and the disturbing intensity of the final monologue. Despite some criticisms regarding the orchestra’s power and certain character portrayals, the production is deemed a successful, focused interpretation of the opera’s contrasting dramas, running until late April.
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Regents Opera's Salome Review: Clarity and Fury at York Hall
Regents Opera presents a lean, dynamic production of Richard Strauss’s Salome at London’s York Hall, directed by Mark Ravenhill with distinct gangsterish overtones. Following their ambitious staging of Wagner’s Ring cycle, the company utilizes a 24-piece ensemble arranged by Nigel Shore. While the reduced orchestra lacks the lush textures of the full score, it provides unusual clarity and better balance for the singers on the runway-style stage. Conductor Ben Woodward leads with energy, though the musical contrast is somewhat limited. Vocal performances are highlighted by Freddie Tong’s powerful Jochanaan and James Schouten’s rich Narraboth. However, the production’s centerpiece is Kirsty Taylor-Stokes as Salome. Her performance is praised for both vocal prowess and compelling acting, particularly in a modernized Dance of the Seven Veils where she seizes clothing rather than stripping. The review notes the effective use of space and the disturbing intensity of the final monologue. Despite some criticisms regarding the orchestra’s power and certain character portrayals, the production is deemed a successful, focused interpretation of the opera’s contrasting dramas, running until late April.
The Guardian