Strauss composed the opera to a German libretto, and that is the version that has become widely known. In 1907, Strauss made an alternate version in French (the language of the original Oscar Wilde play), which was used by Mary Garden, the world's most famous proponent of the role, when she sang the opera in New York, Chicago, Milwaukee, Paris, and other cities. Marjorie Lawrence sang the role both in French (for Paris) and in German (for the Metropolitan Opera, New York) in the 1930s. The French version is much less well known today, although it was revived in Lyon in 1990, Kennedy, in Holden, p. 889 and recorded by Kent Nagano with Karen Huffstodt in the title role and José van Dam as Jochanaan. In 2011, the French version was staged by Opéra Royal de Wallonie in Liège, starring June Anderson.  RoleVoice typePremiere cast, 9 December 1905Conductor: Ernst von SchuchHerodes, Tetrarch of Judaea and PereatenorKarel BurianHerodias, his wife (and sister-in-law)mezzo-sopranoIrene von ChavanneSalome, his stepdaughter (and niece)sopranoMarie WittichJochanaan (John the Baptist)baritoneKarl PerronNarraboth, Captain of the GuardtenorRudolf Ferdinand JägerThe Page of HerodiascontraltoRiza EibenschützFirst JewtenorHans RüdigerSecond JewtenorHans SavilleThird JewtenorGeorg GroschFourth JewtenorAnton ErlFifth JewbassLeon RainsFirst NazarenebassFriedrich PlaschkeSecond Nazarene tenorTheodor KruisFirst soldierbassFranz NebuschkaSecond soldierbassHans Erwin (Hans Erwin Hey)A CappadocianbassErnst WachterA slavesoprano/tenorMaria KeldorferRoyal guests (Egyptians and Romans), and entourage, servants, soldiers (all silent) Music Leitmotif associated with Salome herself Leitmotif associated with Jochanaan or prophecy The music of Salome includes a system of leitmotifs, or short melodies with symbolic meanings. Some are clearly associated with people such as Salome and Jochanaan (John the Baptist). Others are more abstract in meaning. Strauss's use of leitmotifs is complex, with both symbolism and musical form subject to ambiguity and transformation. Some leitmotifs, especially those associated with Herod, change frequently in form and symbolic meaning, making it futile to pin them down to a specific meaning. Strauss provided names for some of the leitmotifs, but not consistently, and other people have assigned a variety of names. These names often illustrate the ambiguity of certain leitmotifs. For example, Gilman's labels tend to be abstract (such as "Yearning", "Anger", and "Fear"), while Roese more concrete (he called Gilman's "Fear" leitmotif "Herod's Scale"). Regarding the important leitmotif associated with Jochanaan, which has two parts, Gilman called the first part "Jochanaan" and the second part "Prophecy", while Roese labels them the other way around. Labels for the leitmotifs are common, but there is no final authority. Derrick Puffett cautions against reading too much into any such labels. In addition to the leitmotifs, there are many symbolic uses of musical color in the opera's music. For example, a tambourine sounds every time a reference to Salome's dance is made.  Del Mar, Norman (1962). Richard Strauss. London: Barrie & Jenkins. . Kennedy, Michael, in Holden, Amanda (ed.) (2001), The New Penguin Opera Guide, New York: Penguin Putnam. External links Category:Operas by Richard Strauss Category:German-language operas Category:Music dramas Category:1905 operas Category:One-act operas Category:Operas based on works by Oscar Wilde Category:Operas Category:Operas based on the Bible Category:Music for orchestra and organ Category:Incest in plays Category:Obscenity controversies in music Category:Adultery in plays Category:Cultural depictions of John the Baptist Category:Music dedicated to family or friend
Strauss composed the opera to a German libretto, and that is the version that has become widely known. In 1907, Strauss made an alternate version in French (the language of the original Oscar Wilde play), which was used by Mary Garden, the world's most famous proponent of the role, when she sang the opera in New York, Chicago, Milwaukee, Paris, and other cities. Marjorie Lawrence sang the role both in French (for Paris) and in German (for the Metropolitan Opera, New York) in the 1930s. The French version is much less well known today, although it was revived in Lyon in 1990, and recorded by Kent Nagano with Karen Huffstodt in the title role and José van Dam as Jochanaan. In 2011, the French version was staged by Opéra Royal de Wallonie in Liège, starring June Anderson. + RoleVoice typePremiere cast, 9 December 1905Conductor: Ernst von SchuchHerodes, Tetrarch of Judaea and PereatenorKarel BurianHerodias, his wife (and sister-in-law)mezzo-sopranoIrene von ChavanneSalome, his stepdaughter (and niece)sopranoMarie WittichJochanaan (John the Baptist)baritoneKarl PerronNarraboth, Captain of the GuardtenorRudolf Ferdinand JägerThe Page of HerodiascontraltoRiza EibenschützFirst JewtenorHans RüdigerSecond JewtenorHans SavilleThird JewtenorGeorg GroschFourth JewtenorAnton ErlFifth JewbassLeon RainsFirst NazarenebassFriedrich PlaschkeSecond Nazarene tenorTheodor KruisFirst soldierbassFranz NebuschkaSecond soldierbassHans Erwin (Hans Erwin Hey)A CappadocianbassErnst WachterA slavesoprano/tenorMaria KeldorferRoyal guests (Egyptians and Romans), and entourage, servants, soldiers (all silent) Music Leitmotif associated with Salome herself Leitmotif associated with Jochanaan or prophecy The music of Salome includes a system of leitmotifs, or short melodies with symbolic meanings. Some are clearly associated with people such as Salome and Jochanaan (John the Baptist). Others are more abstract in meaning. Strauss's use of leitmotifs is complex, with both symbolism and musical form subject to ambiguity and transformation. Some leitmotifs, especially those associated with Herod, change frequently in form and symbolic meaning, making it futile to pin them down to a specific meaning. Strauss provided names for some of the leitmotifs, but not consistently, and other people have assigned a variety of names. These names often illustrate the ambiguity of certain leitmotifs. For example, Gilman's labels tend to be abstract (such as "Yearning", "Anger", and "Fear"), while Otto Roese's are more concrete (he called Gilman's "Fear" leitmotif "Herod's Scale"). Regarding the important leitmotif associated with Jochanaan, which has two parts, Gilman called the first part "Jochanaan" and the second part "Prophecy", while Roese labels them the other way around. Labels for the leitmotifs are common, but there is no final authority. Derrick Puffett cautions against reading too much into any such labels. In addition to the leitmotifs, there are many symbolic uses of musical color in the opera's music. For example, a tambourine sounds every time a reference to Salome's dance is made. Further reading Del Mar, Norman (1962). Richard Strauss. London: Barrie & Jenkins. . External links Category:Operas by Richard Strauss Category:German-language operas Category:Music dramas Category:1905 operas Category:One-act operas Category:Operas based on works by Oscar Wilde Category:Operas Category:Operas based on the Bible Category:Music for orchestra and organ Category:Incest in plays Category:Obscenity controversies in music Category:Cultural depictions of John the Baptist Category:Music dedicated to family or friend
D
Kennedy, in Holden, p. 889
A
+
R
Roese
Otto Roese's are
A
Further reading
D
Kennedy, Michael, in Holden, Amanda (ed.) (2001), The New Penguin Opera Guide, New York: Penguin Putnam.
D
Category:Adultery in plays