Performed at Teatro Comunale, Bologna, Italy

Conductor: Nicola Luisotti
Director: Gabriele Lavia

Erika Sunnegardh (Salome)
Mark S. Doss (Jochanaan)
Robert Brubaker (Herod)
Dalia Schaechter (Herodias)
Mark Milhofer (Narraboth)
Nora Sourouzian (A page)
Gabriele Mangione (First Jew)
Paolo Cauteruccio (Second Jew)
Dario Di Vietri (Third Jew)
Ramtin Ghazavi (Fourth Jew)
Masashi Mori (Fifth Jew)
Masashi Mori (Man from Cappadocia)
Alessandro Spina (First Nazarenes)
Paulo Paolillo (Second Nazarenes)
Cesare Lana (First soldier)
Alessandro Spina (Second soldier)
Edoardo Milletti (A slave)

The subject-matter of this opera is taken from the Biblical story, but the character of Salome herself is much more freely developed, and she is the central figure of the drama. In Act 1 the Jewish prophet Jokanaan is held captive in Herods palace courtyard, and his fearless voice is heard now and again still sounding forth his prophecies and denunciations. The beautiful and passionate young Princess Salome is greatly struck by the bold, manly tones of the captive, and she begs to have him brought forth for her to gaze upon.

The soldiers, however, refuse her request, having strict instructions from Herod to keep the prisoner out of sight since he is afraid of his denunciations; but Salome exercises her great powers of fascination upon a young Syrian soldier, Narraboth, who, being desperately enthralled by her beauty, disobeys his orders and brings forth the prisoner. As Salome gazes upon the stern and noble features of the fearless prophet, his fine bearing and true force of character appeals to her so strongly that, seeing his superiority to the pleasure-seekers around her, she is seized with a sudden wild passion for him, and exerts all her powers of seduction to win his love. Jokanaan, however, is utterly untouched by her beauty and her wiles, and calling upon Herod and Herodias, denounces them in fiery language for their evil lives, uttering the most scathing rebukes. Neither does he spare Salome, but when she smiles upon him and endeavours to enthral him with her allurements, he turns from her in scorn, and rebukes her sternly as he is borne back to his prison.

This disregard of her charms enrages the passionate Salome, and her sudden love changing to jealous and unreasoning hatred she resolves to be revenged upon the prophet. Meanwhile Narraboth, the Syrian officer, having seen that the lovely princess has no real regard for him, but only desires the love of Jokanaan, is filled with despair and kills himself; and when Herod and Herodias presently appear, the former, having conceived a violent passion for his step-daughter, and guessing from the Syrian s dead body the state of affairs, is filled with a gloomy jealousy. He nevertheless begs Salome to dance for his amusement in order to distract his thoughts, for Jokanaan now is once more heard uttering denunciations, and the monarch is greatly in awe of the prophet. Salome, however, refuses to dance, but suddenly forming a daring and dreadful scheme, she changes her mind and declares herself ready to thus entertain him if he will afterwards grant her anything she may desire. Herod, intoxicated with her beauty and charm, rashly agrees, and the famous Dance of the Seven Veils is performed by Salome.

When the dance comes to an end Herod again promises to give the maiden anything she may desire, even to the half of his kingdom; and Salome boldly demands the head of Jokanaan the Prophet, whom she hates for despising her love, to be brought to her on a silver charger. This dreadful request staggers Herod with horror, for he fears to slay the Prophet; but when Salome repeats her request and taunts him by scornfully accusing him of cowardice he is so goaded to desperation by her stinging words that he agrees to grant her wish, and commands the executioner to bring forth the head of the prisoner, as desired. Salome never wavers from her resolve to be revenged upon the man who has disdained her proffered love, and waits with an awful calmness and determination for her wish to be carried out; but when the head of Jokanaan is at last brought to her in the silver charger she is filled with remorse, and kisses the silent lips with passionate fervour. This act so enrages and horrifies Herod that he bids his guards slay the now weeping girl, and the opera closes with the fall of the beautiful and passionate Salome beneath the weapons of the soldiers.