REVIEW ROUND-UP: Salome at the Royal Opera House

In London theatre, Native, Opera, Opinion, Reviews by Emma ClarendonLeave a Comment

Malin Byström stars in the title role of David McVicar’s production of Salome, which runs at the Royal Opera House until 30 January 2018. Love London Love Culture rounds up the reviews…

The Guardian: ★★★★ “Malin Byström was masterful. Making bold use of her voice’s many colours – exhaling and snarling as much as singing – she was almost under-powered at times, only to let rip with astonishing force in her long final monologue.”

The Stage: ★★★ “Despite the high level of focus in the orchestral playing itself, for once this is an evening where what one sees exceeds what one hears.”

The Telegraph: ★★★★ “Byström paces herself cannily, keeping enough fuel back to deliver a thrillingly uninhibited account of the agony and ecstasy of the final scene.”

The Arts Desk: “Of the leads, only Volle and Schuster remain from the first run, and both elevated this performance. Byström’s dramatic portrayal also deserves recognition, but the otherwise mixed cast, and the routine conducting, confirm the production’s status as a dwindling light in the company’s repertoire.”

The Financial Times: ★★★★ “Malin Byström is slim, lithe, believably the object of Herod’s desire. Singing the role takes her to her limits, the top of the voice being on the thin side, but she gives her all and every complex thought that passes through Salome’s mind can be charted in her eyes.”

The Times: ★★★ “This revival still has some mesmerising sequences, but its emotional temperature is tepid when it should be scalding.”

Evening Standard: ★★★★ “David McVicar’s insightful production reveals new subtleties in its third revival.”

Express: ★★★★ “Hungarian conductor Henrik Nánási conducting the Covent Garden orchestra with great vigour, the power of Strauss’s gloriously luscious music was brought out in exemplary style, matching the vitality of the leading singers.”

MusicOMH: ★★★★ “It’s an unconventional staging, but every aspect grabs you from the first rapturous cries of the doomed Narraboth to the final frenzied raptures of Salome’s last words.”

Plays to See: ★★★★ “Supporting roles were well taken and other production aspects contributed to render the right combination of glittering surfaces and expressionist horror that this still disturbing work demands.”

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Emma Clarendon
Emma Clarendon studied drama through A-Level before deciding she was much better suited to writing about theatre than appearing onstage. She’s written for a number of online publications ever since, including The News Hub and Art Info. Emma set up her own blog, Love London Love Culture, in April 2015 and tweets at LoveLDNLoveCul.
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Emma Clarendon on FacebookEmma Clarendon on InstagramEmma Clarendon on RssEmma Clarendon on Twitter
Emma Clarendon
Emma Clarendon studied drama through A-Level before deciding she was much better suited to writing about theatre than appearing onstage. She’s written for a number of online publications ever since, including The News Hub and Art Info. Emma set up her own blog, Love London Love Culture, in April 2015 and tweets at LoveLDNLoveCul.

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