Herodias and Salome: Worldly Women
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
The Chosen Study
Episode | 1 The Chosen Study A welcoming and interactive experience for everyone: observers… skeptics… learners… seekers… followers. Bill Syrios Jesus Study.org Watch > Study > Discuss the Most Audacious Story 2 | The Chosen Study, Season One ever told. ©2021 The Chosen Study, Season One, Bill Syrios -Review Copy, Not For Sale- Scripture quotations are from the ESV® Bible (The Holy Bible, English Standard Version®), ©2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved. Thanks to Michael Foster for his help with the Realistic But Real? and Knowing Those Who Knew Him Best sections. And thanks to Dietrich Gruen for his work as copy editor. The Jesus Study and Chosen Study are not affiliated with The Chosen TV series. ISBN: 978-0-9716683-3-1 The Chosen is a television drama based on the life of Jesus Christ, cre- ated, directed and co-written by American filmmaker, Dallas Jenkins. It is the first multi-season series about the life of Christ, and season one was the highest crowd-funded TV series or film project of all time. The series' creators stated that they had hoped to distinguish the new series from previous portrayals of Jesus by crafting a multi-season, episode-based story. The series portrays Jesus "through the eyes of those who met him.” --The Chosen, Wikipedia Download The Chosen App on your device and cast it to a TV: The Access The Chosen on a computer with this URL: TheChosen.tv Chosen Episode | 3 Contents . Welcome to Jesus’ Story . 4 What We Do . -
Berean Digest Walking Thru the Bible Tavares D. Mathews
Berean Digest Walking Thru the Bible Tavares D. Mathews Length of Time # Book Chapters Listening / Reading 1 Matthew 28 2 hours 20 minutes 2 Mark 16 1 hour 25 minutes 3 Luke 24 2 hours 25 minutes 4 John 21 1 hour 55 minutes 5 Acts 28 2 hours 15 minutes 6 Romans 16 1 hour 5 minutes 7 1 Corinthians 16 1 hour 8 2 Corinthians 13 40 minutes 9 Galatians 6 21 minutes 10 Ephesians 6 19 minutes 11 Philippians 4 14 minutes 12 Colossians 4 13 minutes 13 1 Thessalonians 5 12 minutes 14 2 Thessalonians 3 7 minutes 15 1 Timothy 6 16 minutes 16 2 Timothy 4 12 minutes 17 Titus 3 7 minutes 18 Philemon 1 3 minutes 19 Hebrews 13 45 minutes 20 James 5 16 minutes 21 1 Peter 5 16 minutes 22 2 Peter 3 11 minutes 23 1 John 5 16 minutes 24 2 John 1 2 minutes 25 3 John 1 2 minutes 26 Jude 1 4 minutes 27 Revelation 22 1 hour 15 minutes Berean Digest Walking Thru the Bible Tavares D. Mathews Matthew Author: Matthew Date: AD 50-60 Audience: Jewish Christians in Palestine Chapters: 28 Theme: Jesus is the Christ (Messiah), King of the Jews People: Joseph, Mary (mother of Jesus), Wise men (magi), Herod the Great, John the Baptizer, Simon Peter, Andrew, James, John, Matthew, Herod Antipas, Herodias, Caiaphas, Mary of Bethany, Pilate, Barabbas, Simon of Cyrene, Judas Iscariot, Mary Magdalene, Joseph of Arimathea Places: Bethlehem, Jerusalem, Egypt, Nazareth, Judean wilderness, Jordan River, Capernaum, Sea of Galilee, Decapolis, Gadarenes, Chorazin, Bethsaida, Tyre, Sidon, Caesarea Philippi, Jericho, Bethany, Bethphage, Gethsemane, Cyrene, Golgotha, Arimathea. -
Women with Jesus at the Cross and the Tomb Bible Study
Women with Jesus at the Cross and the Tomb Bible Study [Please provide : musical accompaniment; Bibles, hymnals, and copies of the Bible study for attendees.] Beginning with Ash Wednesday and for 40 days following, we are in the period of the church year called Lent. It is a time to remember the suffering, death, and burial in preparation for the resurrection of our Lord and Savior, Jesus Christ. As we approach and journey through Lent, let us focus on the women who were present when Jesus was crucified on Calvary and later at His tomb. Let us begin with prayer : Lord Jesus Christ, be with us as we study Your Word, meditating upon those women who were near You at the cross and the tomb. In Your holy name. Amen. Sing “When I Survey the Wondrous Cross” LSB 425 or 426, TLH 175, LW 114 or 115 I. Standing Near the Cross – read John 19:25-27 • Four women are mentioned: o Mary, the mother of Jesus o His mother’s sister – tradition holds this is Salome, mother of James and John, the sons of Zebedee o Mary, the wife of Clopas – the only time she or Clopas are mentioned o Mary Magdalene The women took a risk by being present at the cross. It took courage for them to stand there in the midst of the hatred and ridicule. Their attendance was intended to encourage Jesus. Jesus’ mother, Mary, is experiencing what Simeon had predicted years before in Luke 2:35. As she stood there, her grief must have been nearly unbelievable. -
Saint Mary Magdalene
saint mary magdalene - relic tour Martha was the first to say, “Lord, I have believed that thou art Christ the Son of February 20 - March 22, 2013 the living God, who art come into this world” (John 11:27). Martha was witness to Jesus resurrection of her brother Lazarus (John 11:39-44). Martha’s relics are in Collégiale Sainte-Marthe in Tarascon. Early Christian Saints of God Mark Friedman and Janet Vogt A piece of the tibia of St. Mary Magdalene Saints of God, we stand be - fore you. This we ask you, pray for us. Ho - ly men and ho - ly wom - en, in your good - ness pray for us. 1. St. Ma - ry, God’s moth - er, our moth - er, 2. St. Jo-seph, St. Pe - ter, St. An - drew, 3. St. Mat - thew, St. Si - las, St. Bar - na - bas, 4. St. Mar - tha, St. Max-i-min, St. Ma-ry Sal-o-me, 1. All an - gels in heav - en, 1-4. pray for us. 2. St. Steph - en, St. Paul, 3. St. Luke, St. Ce-do-ni-us, 4. St. La - za - rus, St. Mar - tha, 1-4. pray for us. Ho - ly men and ho - ly wom - en, The Three Marys at the Empty Tomb Mary Magdalene, Mary Jacobe and Mary Salome 1. so ho - ly, 2. St. Law-rence, 3. St. Ma-ry Ja- co- be, pray for us. us. 4. St. Ma-ry Mag-da-lene. 1-4. in your good - ness, pray for us. us. 2, 4. Save us, Lord, from sin and ev - ‘ry A piece of the tibia of St. -
Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C. Slavkin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE MOREAU’S MATERIALITY: POLYMORPHIC SUBJECTS, DEGENERATION, AND PHYSICALITY By MARY C. SLAVKIN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Masters of Arts Degree Awarded: Spring Semester, 2009 The Members of the Committee approve the Thesis of Mary Slavkin defended on March 30, 2009. ___________________________ Lauren Weingarden Professor Directing Thesis ___________________________ Richard Emmerson Committee Member ___________________________ Adam Jolles Committee Member Approved: _______________________________________________ Richard Emmerson, Chair, Department of Art History _______________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii For David. Thanks for all the tea. iii TABLE OF CONTENTS LIST OF FIGURES..........................................................................................................v ABSTRACT.....................................................................................................................ix CHAPTER 1: Introduction...............................................................................................1 -
Salome: the Image of a Woman Who Never Was
Salome: The Image of a Woman Who Never Was Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer By Rosina Neginsky Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer, By Rosina Neginsky This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Rosina Neginsky All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4621-X, ISBN (13): 978-1-4438-4621-9 To those who crave love but are unable to love. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Epigraph: Poem “Salome” by Rosina Neginsky ........................................ xv Preface ...................................................................................................... xxi Introduction ................................................................................................. 1 Part I: Creation of the Salome Myth Chapter One ................................................................................................. 8 History and Myth in the Biblical Story Chapter Two ............................................................................................. -
Asko Sahlberg's Herodes
Mika Hallila Uniwersytet Warszawski Retelling Salome: Asko Sahlberg’s Herodes Abstract: The article presents an analysis on the retelling of the story of the Princess Salome in a contemporary Finnish novel, Herodes (2013) by Asko Sahlberg. In the analysis, Salome’s story is considered as an outlandish narrative of an outlandish character that has interested people through history, and especially in the modern era. Sahlberg’s narrative of Salome is contextualized within some of the most known versions of Salome’s story such as the Gospels, and the play of Oscar Wilde. Eventually, the aim is to point out how and to what ends the rewriting of the story of Salome is done in this novel. Keywords: Salome, retelling, rewriting, outlandish, Finnish literature, contemporary novel The topic of this article is one of the most famous female characters of the biblical stories: I will analyze the story of the Princess Salome. The main focus of the analysis is on the retelling of the story of Salome in one contemporary Finnish novel, Herodes (2013) by Asko Sahlberg. I am asking how and to what ends the story is retold in this novel. When analyzing Sahlberg’s novel, I will especially focus on the narrator–protagonist Herod Antipas as his voice and his point of view make a particular change in the story of the Princess Salome. The key concepts formulated in the analysis are the ideas of retelling and rewriting, and outlandishness; as shown here, the Princess Salome is an outlandish character whose mystery has remained unsolved through history. The representation of the Princess in Sahlberg’s novel is, hence, part of a long tradition of the interpretations and reinterpretations of the well-known historical narrative which took place at the beginning of Christianity. -
Daughter of Eve, Femme Fatale, and Persecuted Artist: the Mythic Transgressive Woman in Oscar Wilde’S and Richard Strauss’ Salome
MONOGRAFÍA Amaltea. Revista de Mitocrítica ISSN-e: 1989-1709 http://dx.doi.org/10.5209/AMAL.51851 Daughter of Eve, Femme Fatale, and Persecuted Artist: The Mythic Transgressive Woman in Oscar Wilde’s and Richard Strauss’ Salome Corinne E. Blackmer1 Recibido: 1 de febrero de 2016 / Aceptado: 3 de julio de 2016 Abstract. Historically, Salome was a mundane figure who never catalyzed John the Baptist's death. However, in Christian Scripture, she becomes the seductress and fallen daughter of Eve. Her stepfather Herod promises Salome his kingdom if she dances for him, but she follows her mother’s wish to have John beheaded. In Strauss’s opera, after Wilde's Symbolist-Decadent play, Salome becomes independent of Herodias’ will, and the mythic avatar of the femme fatale and persecuted artist who Herod has killed after she kisses John's severed head. Her signature key of C# major, resolving to the C major sung by Herod and Jokanaan at her death, represents her tragic fate musically. Keywords: Salome; Herod; John the Baptist; femme fatale; Oscar Wilde; Richard Strauss; Symbolism; Decadence. Fille d’Éve, Femme Fatale, et l’Ártiste Persécutée: La Femme Transgressive Mythique dans la Salome d’Oscar Wilde et de Richard Strauss Résumé. Selon l’histoire, Salomé était une personnalité banale qui n’a jamais précipité la mort de Jean le Baptiste. En revanche, dans les textes chrétiens, elle devient la séductrice et la fille déchue d’Ève. Son beau-père Hérode promet à Salomé son royaume si elle danse pour lui, mais elle suit le souhait de sa mère qui exige la décapitation de Jean. -
The Easter Verses of the Three Marys a Medieval Short Play for Eastertide
The Easter Verses of the Three Marys A medieval short play for Eastertide This short drama is one of the oldest and most important pieces of drama in Europe. The written version dates from the 12th Century and is recorded in a manuscript kept at Vic in Spain. The drama is an enhanced version of the encounter between Mary and the Angel at the tomb on Easter morning recorded in the gospels. This play has been performed at Eastertime for centuries and is still has great power today. By tradition, the three Marys who buy ointment and go to the tomb to anoint the body of Jesus: Mary Magdalene, Mary Jacobe (the mother of James) and Mary Salome. In this version, I imagine Mary Jacobe as the motherly, practical type; Mary Salome as younger, elegant, wanting the best; and Mary Magdalene as overwhelmed by grief and finding it almost impossible to go to the tomb but impelled to do so. In Spanish versions of the drama, Mary Magdalene carries a jar of expensive ointment, Mary Jacobe carries a broom, and Mary Salome carried an incense burner (small thurible). The merchant is an East End barrowboy, probably minding the stall while his master is away, wheeling and dealing to get a good price but also sensitive to the women’s grief. The angel is strong, straightforward, unshowy, his declaration that Christ is risen convinces and draws us in. The repeated refrain ‘How great is our grief’ needs to be carefully handled so it doesn’t become melodramatic. It needs to be heartfelt and spoken differently each time it occurs. -
Three Trials and Three Denials
(26) First Examined by Annas (Jn. 18:12-14,19-23) (27) Trial by Caiaphas & Council (Mt. 26:57,59-68; Mk. 14:53,55-65; Lk. 22:54,63-65; Jn. 18:24) (28) Peter’s Triple Denial (Mt. 26:58,69-75; Mk. 14:54,66-72; Lk. 22:54-62; Jn. 18:15-18,25-27) (29) Condemnation by the Council (Mt. 27:1; Mk. 15:1; Lk. 22:66-7:1) 1. Only the Gospel of John records a preliminary hearing before Annas, prior to the trial by Caiaphas (Jn. 18:12-14,19-23). a. The Roman components disappear between Jesus’ delivery to Annas (Jn. 18:12) and Jesus’ delivery to Pilate (Jn. 18:28). #452 a #2608 :ch nanyah 28x חֲנַנְיָה .b. Annas comes from the Hebrew. Ἅννας 4x: Annas (Lk. 3:2; Jn. 18:13,24; Acts 4:6) fr Hannaniah. 11 individuals in the Hebrew Bible bear this name. c. Josephus also wrote about Annas (Jos., Ant. 18, 26; 20, 197). d. A synopsis of Annas and his crime syndicate is provided in Grace Notes (Acts, Section I, Lesson 10, located at Acts 4:6). e. The Apostle John was known to the high priest and had access to his house (Jn. 18:15-16). 1) John’s mother Salome was Mary’s sister (Jn. 19:25 cp. Mt. 27:56 & Mk. 15:40). 2) This not only made John and Jesus cousins, but made them both kinsmen with Elizabeth (Lk. 1:5,36). Thus, their lineage made them royal Davidic with priestly connections. -
Reading the Emotions of Salome: Sympathy for the Devil Or Fear and Loathing Diane Hoeveler Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2001 Reading the Emotions of Salome: Sympathy for the Devil or Fear and Loathing Diane Hoeveler Marquette University, [email protected] Published Version. Prism(s): Essays in Romanticism, Vol. 9 (2001): 87-108. © 2001 International Conference on Romanticism. Used With Permission. A Reading of the Emotions of Salome: Sympathy for the Devil, or Fear and Loathing Diane Long Hoeveler n October 1876 Gustave Flaubert was engaged in writing what I would become perhaps his most well-known and successful piece of short fiction, "A Simple Heart." This narrative dissects the life of an innocent servant woman, ironically named Felicity, who rransfers her love and spiritual devotion from object to object until she finally settles, afrer life's many disappointments, on a stuffed and tattered parrot as the incarnation of her god of love. The horror of Flaubert's story can be located in his dark and cynical portrayal of love and spiritual devotion as a form of fetishism, a mad scramble for apparently random substitute objects to compensate for the original wound in the psyche, the primor dial fall we all supposedly make from a sense of original wholeness and self-sufficiency within the individual ego into psychic fragmentation. Felicity's pathetic stuffed parrot functions as a fetish, while fetishism-or the displacement of the sexual object by a metonymic substitute-stands in Flaubert as the originating source of both love and religious worship. 1 88 Diane Long Hoeveh Although often considered the exact opposite of a "romantic" work, Flaubert's tale is important as an example of what I would call the "post romantic residue," the reaction against romanticism that lingered in nineteenth-century literary culture, on the continent as well as in Britain.