| “Having seen this performance, you will never forget it”!” ArtРеприза
September 17, 2015 “This is an awesome, fascinating canvas”. Golos Publiki
September 25, 2015 “In spite of all worries, Odegova’s team managed to find a key to solving a very challenging task – to produce a drama with a pulsating eroticized basis, avoiding provoking scenes and rivers of blood. Everything was made much more subtly and in good taste” M24.ru
September 24, 2015 “Literally all the soloists – primarily the soprano Natalia Kreslina (Salome) and the tenor Andrey Popov (Salome’s stepfather, Herod) – are working so responsibly as if the composer himself were in the auditorium” Trud
September 23, 2015 “Maestro Jan Latham-Koenig – not very often, but consistently – gives us magnificently sounding presents. The previous season was opened with a flawless Britten. Earlier was the first Moscow production of Tristan und Isolde, which made a great sensation. And now he presents a new important and forcible work – Strauss’ Salome”. Colta.ru
September 22, 2015 “A balance between the visible and the audible determined to a great extent the success of this production <…> The entire production has a single axis – the image of the world tree, which seems to be made of vigorous roots alone. It gives birth to everything both metaphorically and literally: spaghetti on the table, Solome’s thick curls, and Jokanaan’s very long plait and his manacles and, of course, the general feeling of a tight “nerve”. ” Belcanto
September 22, 2015 “In the details of the scenes one can easily recognize the intonations of Peter Greenaway; it seems that the producers of Salome dedicate it to him. And at times they do it very ingeniously (for example, when Herod, frightened and foreboding death, is yelling about the rustling of birds’ feathers, we see leftovers of a black swan on the table)”. Kommersant
September 23, 2015 “A rather ascetic, but impressive set design – an inclined black floor creating a deformed crater in the centre of the stage, a half-round wall looking like yellow marble (turning into purple at tragic moments), a black table with black food on it, yellow-white-black outfits (with the only exception of Jochanaan) according to the fashion of the early 20th century – all this has a right to be. The main element that catches the eye is an impressing black construction that whirls up (intertwined roots of a southern tree or lianas from Art Nouveau graphics, or maybe these are wires or even the DNA molecule). Its pattern is repeated again and again – in Jochannan’s and Salome’s long hair, the Jews’ side-locks, the Nazarenes’ crowns of thorns…” OperaNews
September 21, 2015 “The old world strangles the new one, which has just learned the power of love and beauty. The old world is ugly, while the new is cruel and irrepressible. In the new world Eros and Thanatos go to bed together and a murder for sake of a kiss is a child’s play. The Novaya Opera has created a very emotional production”. Vedomosti
September 21, 2015 “The quiet moments were yet more expressive. Jan Latham-Koenig figured out a special feature of Strauss’ sound: its “hapticness”, when you feel as if music “palpates” you, literally “touches”. This perfectly suits Salome’s story, a story about egocentric corporality and a pallet of pathologic desires” Novye Izvestiya
September 17, 2015 “In Odegova’s interpretation the Dance of the Seven Veils, the main scene of the opera, is far from symbolic. There is no dance at all <…> It must be noted that this scene is produced with that degree of tension that allows us to practically feel Herod’s desire, Salome’s disgust and Herodias’ hatred gradually growing towards the finale”. Nezavisimaya Gazeta
September 21, 2015 “There is an original idea, an invention and esthetics in the costumes and sets, and the mix of the Art Nouveau epoch with Judaic motives does not damage the production a single bit”. Orfey Radio
September 2015 | |
