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Salome Programme.indd 1 02/02/2015 13:11 Programme.indd 2 02/02/2015 13:11 Chairman’s Welcome

We are delighted to welcome you to our new our commitment to nurturing young local talent production of Salome here at the Grand wherever possible, giving them the opportunity House, in partnership with the . to perform alongside some of the finest singers This is a landmark production in many ways working today. - our first production of an opera by , the first ever home-grown Northern Irish It has been a successful few months for Northern production of Salome, as well as the first time we Ireland Opera. Our acclaimed production of The believe this great opera has been staged at all Turn of the Screw, generously supported by the in . This production also reflects British Council, performed to packed houses and our continuing determination to stage ambitious rave reviews at Novaya Opera in Moscow in large-scale works from across the repertoire, August, while our production of especially those which have special drama and was a resounding sell-out success across the immediacy. Strauss’s controversial opera has country. Our co-production with Welsh National been popular ever since it was composed over a Opera of Verdi’s from 2014 has also hundred years ago, and its challenging content recently been nominated for the Best Opera continues to shock and enthrall in equal measure. Production award by the Irish Times Theatre Awards, the fourth consecutive year we have As always, we are pleased to welcome a been nominated for the same award. strong contingent of Northern Irish and Irish singers for this production. -born However, it is well-known that the arts scene Giselle Allen requires no introduction after her in Northern Ireland is going through troubling heroic performances as our award-winning economic times. The recent difficulties of our in 2011, as Miss Jessel in The Turn of longstanding and most important collaborator, the Screw in 2012, and as Senta in The Flying the Ulster Orchestra, are well-documented Dutchman in 2013. We are thrilled to have and we are delighted that there is a renewed someone who has been called ‘one of the optimism regarding its future. Our continuing finest singing actresses of her generation’ sing partnership with the Orchestra is a great the role of Salome for the first time in her home example of how collaborations between arts city. Alongside her, and giving their Northern organisations can offer both first-class artistic Ireland Opera debut performances, are Michael quality and value for the taxpayer. Nevertheless, Colvin (born in Ballymena and now based in we rely on your continued enthusiasm for our Canada) as Herod, and Carolyn Dobbin (from project of bringing great home-grown opera to Carrickfergus) as the Page, as well as renowned Northern Ireland. Please continue to come and Robert Hayward as Jokanaan and the see our productions, tell people about them, and exciting English mezzo soprano Heather Shipp consider joining our Friends scheme or offering as Herodias. They are joined by Australian financial support either through individual giving Adrian Dwyer (Steersman in The Flying or via your business’s corporate philanthropy Dutchman) as Narraboth and Northern Ireland programme. Opera stalwart Brendan Collins (Tosca, Orpheus Finally, we would like to especially thank the in the Underworld, The Magic Flute) as 1st Arts Council of Northern Ireland for its continued Nazarene. We are also delighted to give role generous and invaluable support, the Ulster debuts to four Irish singers who have previously Orchestra, and the Grand Opera House for excelled in our chorus: Conor Breen (a current hosting us in Frank Matcham’s glorious theatre. singer on our increasingly successful Young Artist Programme), Rory Musgrave, David Lynn, and Roy Bailie Cormac Lawlor. Thus we continue to demonstrate Chairman, Northern Ireland Opera

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Salome Programme.indd 3 02/02/2015 13:11 Salome Programme.indd 4 02/02/2015 13:11 Director’s Notes

Salome was premiered in Dresden in December responded to this story (and its author) with 1905, and was the first operatic hit for the 41 such white-hot intensity in one of the most year old Richard Strauss. Before long, the opera daring scores ever composed. But for Strauss, had been performed all over the world and set too, the story had resonance. As for Kafka Strauss on the path to both financial security and and for Mozart, a complex relationship with operatic fame. The Graz premiere saw Mahler, a domineering father was a crucial aspect of Berg and Puccini in the audience, as well as – Strauss’s early life. A renowned but ill-tempered the dictator later claimed – Adolf Hitler on a horn player who played for Wagner but hated cheap student standby. The opera also launched his music, Franz Strauss decried the chromatic, ‘Salomania’ – a craze of female ‘interpreters’ erotic, and progressive direction his son’s vying to perform the Dance of the Seven music took. Before he died, he looked through Veils. With success, however, came notoriety. the score of Salome and described its radical Reactionaries and prudes reviled the undeniably sonorities and ingenious motivic complexity sensational content that touched on sexual as ‘like having a swarm of insects crawl round awakening, incest, murder and necrophilia, inside ones clothes’. Not surprisingly, then, all in the sanctified environs of a Bible story. the French horn had special significance in The German Kaiser, the daughter of banker Strauss’s music, and in Salome it is particularly JP Morgan, and the British Lord Chancellor all associated with Jokanaan, whose censorious weighed in with interventions that varied from rants and bombastic religiosity Strauss loathed. the crass to the comical. Strauss had clearly hit If here Strauss negotiated with the disapproving a nerve. figure of his own father, in Salome Strauss could perhaps see something of his mother. An Salome’s origins should make this no surprise. unstable woman with musical gifts, Josephine The story had provoked fascination from Strauss spent most of the period from 1894 medieval cathedral craftsmen to painters such as to 1909 in mental asylums. And in his opera Caravaggio and Klimt. But it was Wilde singer wife Pauline, Strauss found yet another – lifting material from Flaubert and injecting it woman who, like Salome, was noted both for with arch fin de siècle symbolism – who gave the her acerbic volatility and her unique talent for Salome story true dramatic shape. With delicious creative self-expression. irony, he also gave voyeurism (in the context of invariably male artistic responses to the Once Strauss had exorcised his demons with this figure of Salome down the ages) a central role. and his next opera, , his music shed much When Wilde wrote the play in 1891, he was of its violent energy and became increasingly himself living an illicit life; torn between married detached from the musical avant garde – while domesticity and his own powerful desires; his veered towards more respectable between his idealised ‘Grecian’ appreciation for subject matter. For Strauss, though, Salome was the male form and his predilection for adolescent always to be a pivotal and personal opera. It male prostitutes. Aubrey Beardsley, in his is also surely one of the most important operas famous engravings of Wilde’s play, portrayed of the twentieth century, opening up new paths the author as both Herod and the Moon, drily both for the last symphonies of Mahler and for referencing the play’s autobiographical impulses Berg’s Wozzeck and Lulu. For all its continued and skewering its author’s uneasy mix of aloof notoriety, therefore, Salome is an opera which aestheticism and carnal tumescence. Too much will forever outlive the extraordinary background for a contemporary audience to stomach, noise it generated when it was written. Salome was banned, and Wilde himself never saw his play – which was first performed while he was in prison for ‘acts of gross indecency’. Oliver Mears, Artistic Director It seems odd that Strauss, who made a fetish of his bourgeois domesticity, should have 5

Salome Programme.indd 5 02/02/2015 13:11 Richard Strauss (1864 - 1949)

During his lifetime, Richard Strauss achieved being regarded as one of the leading lights in mastery of three musical genres: orchestral tone- contemporary orchestral music, and led von poems, lieder, opera (of which he composed Bülow to dub him ‘Richard the Third’ (since he 15). He was also one of the great conductors believed that, after Wagner, there could be no of his day, not only promoting his own works ‘Richard the Second’.) but championing those by Mozart, Wagner, Beethoven and many others. Strauss moved to the Weimar Court Opera in 1889, where his adventurous choices of Born on the 11th June 1864, Strauss’s childhood, repertoire brought him widespread publicity. unlike other composers of his time, was a During his time at Weimar, Strauss conducted comfortable one; his father was the principal the premiere of his own first opera horn-player in the Bavarian Court Opera (1894). The principal soprano role was sung by orchestra, his mother was a member of a wealthy , a pupil of Strauss’s for several brewing family, and he grew up in a household years; they married in September 1894. A fine devoted to music. He composed copiously interpreter of his lieder, de Ahna’s influence and from the age of five, and by the age of 16 he example undoubtedly led to Strauss’s special had heard his first symphony performed by his sympathy for the female voice, for which he father’s orchestra. As a boy Strauss attended created his two most iconic operatic roles, those orchestral rehearsals at the Munich Court of Salome and Elektra. Orchestra, where he also received lessons in music theory and orchestration. Guntram was unsuccessful however, and seven years passed before Strauss began work on In 1882 he entered the Ludwig Maximilian another opera. It was only when Strauss took University of Munich, studying Philosophy and the model of the tone-poem and translated History of Art. A year later he left to go to Berlin, it onto the stage that he generated lasting where his music caught the attention of eminent success in the opera house; the resultant one-act conductor Hans Von Bülow who, in 1885, invited operas of (1901), Salome (1905) Strauss to become his assistant at Meiningen. and Elektra (1909) are fine examples of this. He learned his art of conducting by observing Strauss collaborated with the poet Hugo von von Bülow in rehearsal. There he met Alexander Hofmannsthal on Elektra, as he did on five Ritter, an avid Wagnerian, who persuaded the subsequent operas; (1911), young Strauss to move away from his classical (1912), Die Frau ohne upbringing and to become a follower of the Schatten (1918), Die ägyptische Helena ‘music of the future’. The combined influence of (1927), and (1932). One other opera, Ritter and Wagner on Strauss’s musical style was Intermezzo (1923), was composed during this to be profound. His tone-poems, beginning with period, the for which was written by Strauss (1888), marked Strauss’s first period himself. of real compositional success, and led to him

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Salome Programme.indd 6 02/02/2015 13:11 Strauss returned to Munich Opera in 1894, and in 1896 he was appointed chief conductor. Two years later he was appointed to a similar position at the Royal Opera in Berlin, remaining there until 1908, and holding the role of chief guest conductor until 1919. In the same year he agreed to become co-director at Vienna and played a major role in establishing the Salzburg Festival in 1920. Like so many musicians before and after him, Strauss came into conflict with the politics of Viennese opera, and ultimately resigned in 1924. However, in his five years there, he conducted many important new productions of his own and others’ operas.

In March 1933 Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi party, but initially co-operated in the hope that Hitler — an admirer of Strauss’s work since viewing Salome in 1907 — would promote German art and culture. Strauss sought to preserve the music of composers banned by the Nazi party, such as Mendelssohn, Mahler, and Debussy. Due to his international Portrait of Richard Strauss, by Max Liebermann (1918) stature, Strauss was appointed president of the newly founded Reichsmusikkammer, the State family back to Vienna. The same year marked Music Bureau, in November 1933. However, the composition of , the last of his 15 his decision to remain apolitical caused the operas, spanning a career of 58 years. position to ultimately become untenable, and he was eventually dismissed in 1935. Four more Strauss died on 8th September 1949, aged 85. operas were composed during the time of the Georg Solti, who had arranged Strauss’s 85th Third Reich; (1934), birthday celebration, directed the orchestra (1935-6), (1937) and Die during his burial. Liebe der Danae (1940). But as the influence of the Nazi Party grew, Strauss’s main concern became the protection of his Jewish daughter- in-law Alice and Jewish grandchildren from persecution, so in 1942, Strauss moved with his

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Salome Programme.indd 7 02/02/2015 13:11 Salome (Op.54)

SYNOPSIS The scene opens on Herod’s terrace. Narraboth, Herod offers Salome wine and fruit but captain of the guard, stares into Herod’s dining she refuses. Despite Herodias’s objections, room, and is captivated by the beauty of Salome. Herod stares lustfully at Salome, who rejects Salome is the daughter of Herodias from her him. Jokanaan’s voice is heard once again, first marriage with Herod’s brother, who was harassing Herodias from the cistern, and murdered by Herod. Herodias’s Page, fearful declaring her marriage to Herod to be sinful. of Salome and of how strange the moon seems, Herodias calls for Jokanaan to be handed warns Narraboth that something terrible may over to the Jews, but the superstitious Herod happen because he gazes upon her too much. is fearful of Jokanaan. This results in a heated Two soldiers guard the cistern where Jokanaan argument breaking out among the five Jews (John the Baptist) is imprisoned for having as to whether anyone has seen God. After condemned Herodias’s incestuous marriage to hearing Jokanaan make reference to the her husband’s brother. Herod fears Jokanaan, ‘Saviour of the World’, the two Nazarenes and has ordered that no one should make contact inform Herod of the Messiah’s miracles, which with him. Salome, keen to avoid her stepfather’s included raising a woman from the dead. indecent glances, and to escape from the religious This news alarms Herod but when Herodias arguments amongst the Jews, leaves the dinner. complains that Jokanaan is scorning her, She overhears Jokanaan cursing her mother, Herod is reluctant to act against Jokanaan. which piques her curiosity. The guards refuse to Herodias mocks her husband’s fear. obey her orders to fetch Jokanaan, so instead she charms Narraboth into defying Herod’s orders Herod commands Salome to dance for him, and bringing the prophet to see her. but she refuses even when offered extravagant gifts in return. Unswayed, Herod offers her Emerging from the cistern, Jokanaan shouts a whatever her heart desires. Salome finally number of prophecies regarding Herod and makes Herod swear to give her whatever she Herodias. No one is able to understand these demands. He does so, and she prepares for prophecies, except Salome when Jokanaan him the ‘Dance of the Seven Veils’. After the mentions her mother. When she tells him that dance is finished Salome reveals her desired she is Herodias’s daughter, he denounces her. reward - Jokanaan’s head on a silver platter. But upon hearing his voice, Salome is filled with Herodias is delighted, but Salome asserts that an overwhelming desire for him, and longs to she wants the head for her own pleasure, not touch his body and his hair; he rejects her. She to appease her mother. Herod tries to dissuade finally begs to kiss Jokanaan’s mouth, at which her, and offers her more gifts, but Salome point, Narraboth, anguished and horrified by remains obsessive in her demand for the head. her words, kills himself. Salome pays little regard. Herod eventually gives in to her. Jokanaan proclaims salvation through the Son of Man before retreating back into the cistern, The executioner descends into the cistern, cursing Salome. returning with the prophet’s head. Salome seizes it and taunts the head for being unable to Herod and Herodias enter the scene. Herod, reply to her, but also declares her abiding love too, is disturbed by the strangeness of the moon. for Jokanaan. Disgusted, Herod turns to leave. He slips in Narraboth’s blood and orders the As he climbs the staircase to leave, he looks body to be removed. He begins hallucinating, back to see Salome lost in ecstasy, passionately feeling the blowing of a cold wind and hearing kissing the severed head. Herod orders the the beating of wings, but Herodias tells him he soldiers to kill her. is ill.

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Salome Programme.indd 8 02/02/2015 13:11 CAST Opera in one act by Richard Strauss.

Salome Libretto by the composer, from Hedwig Giselle Allen Lachmann’s German translation of the tragedy by Oscar Wilde. Herod English translation by Tom Hammond. Michael Colvin

Jokanaan Running time approx. 1 hour 35 minutes. Robert Hayward There will be NO interval.

Herodias Heather Shipp

Narraboth/Second Nazarene Adrian Dwyer

The Page Carolyn Dobbin

First Jew Paul Curievici

Second Jew Nick Sales

Third Jew David Lynn

Fourth Jew Conor Breen

Fifth Jew Cormac Lawlor

First Nazarene Brendan Collins

First Soldier Padraic Rowan

Second Soldier/A Cappadocian Rory Musgrave

Dancer Hayley Chilvers

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Salome Programme.indd 9 02/02/2015 13:11 CREATIVE TEAM Stage Carpenter UNDERSTUDIES Peter Boyle (NI Opera Young Artists Conductor 2014/15) Nicholas Chalmers Production LX Hallam Knight Narraboth Director Conor Breen Oliver Mears Set Construction Scenedock Page Set and Costume Designer Helen Aiken Annemarie Woods Scenic Artists Stuart Marshall Movement Director Chris Hunter Anna Morrissey Chloe Frazzell ACKNOWLEDGEMENTS Anna Donovan Áine Cassidy Lighting Designer Arts Council of Northern Ireland Kevin Treacy Sculptor Bláthnaid McCaughley Andy McIntyre Boosey and Hawkes Répétiteur/Assistant Grand Opera House Conductor Costume Supervisor Happy Days Beckett Festival Ian Ryan Ilona Karas Jimmy Fay and the team at the Lyric Theatre Assistant Director Wardrobe Mistress Karen O’Rawe Danielle Urbas Melanie Carmichael Laurence Roberts from City Resorts Media Mechanical Services Fight Director Costume Makers Northern Ireland Tourist Board Michael Poynor Margaret Pescott Philip Goss Transport Robert Gordon Rebecca Blaney Paul Aspinall Richard McBride PRODUCTION TEAM Royal Opera House, Covent Milliner Garden: David Pritchard, Mark Janet Spriggs Production Manager Duffy and Ashley Ringshaw Patrick McLaughlin Costume Sarah Speers at Stag Head Breakdown Artists Simon Goldrick Stage Manager Enda Kenny Tourism Ireland Sarah Taylor Kent Holly Nedeljkovic

Props Mistress Wigs & Make-up Georgie Ross Supervisor Carole Dunne Master Carpenter Nic Ree Wigs & Make-up Assistants Stephanie Metzner Technical Manager Marion O’Toole Stephen Anderson

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Salome Programme.indd 10 02/02/2015 13:11 The Ulster Orchestra

First Violins Piccolo Trombone Tamás Kocsis** Elizabeth Bennett* Richard Ashmore* Ioana Petcu-Colan** Gillian Leeming Oboes Tuba Claire Thatcher Christopher Blake** Stephen Irvine* Ottoline Maas Colin Stark* John McKernan Timpani Alys Jackson Cor Anglais Mark McDonald** Philip Davies Rebecca Halliday Jonny Raper Second Violins Clarinets Percussion Michael Alexander** Francesco Paolo Scola** Sam Staunton** Nicholas Rippon* Alessandro Cirrito Nick Brown Danny McCann-Williams+ Malcolm Neale Kevin Harrell E Flat Clarinet Austin Beattie Nigel Ireland Joe Mathers Helen Wakelam Deidre O’Leary Dan Ellis Violas Bass Clarinet Celeste Ruth Bebb* Paul Schumann* Ian Ryan Richard Hadwen Richard Guthrie Harp Ralph Tartaglia Eanna Monaghan Philip Walton Patrick McErlean Rhian Hanson Cliona Warren Cellos ** Section Leader John Leeming** Horns * Principal Morag Stewart* Paul Klein** + Sub-principal Sarah Shepherd+ Martin Wall* Sian Hetherington Jesse Durkan* Guest players’ names in italics Kathryn Lowry Derek Parkins*

Basses Trumpets Gareth Hopkins* Paul Young** Michele Strong+ Pamela Snell Helen Glynn David Collins

Flutes Trombones Colin Fleming** Martin Wilson** Jennifer Sturgeon* Neil Gallie*

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Salome Programme.indd 11 02/02/2015 13:11 Salome Libretto

A Cappadocian. Who is he? Scene One First Soldier. He’s a prophet. Cappadocian. What do they call him? Narraboth. How fair the royal Princess Salome First Soldier. Jokanaan. looks tonight. Cappadocian. Where does he come from? Page. See, the moon’s risen, it looks strangely First Soldier. From the desert. Crowds of his eerie, just like a woman who rises from the grave. disciples always flocked to his side. Narraboth. It’s strangely lovely, and like a Cappadocian. What does he talk about? delicate princess whose feet are little snow white First Soldier. There’s no one here understands doves. It might be dancing up there. what he says. Page. It’s like a lifeless woman, still gliding Cappadocian. Then may I see him? slowly aloft. First Soldier. No, that’s forbidden by the First Soldier. What a commotion! Who’s that Tetrarch. howling now, like jackals in the desert? Narraboth. See, the Princess is rising. She has Second Soldier. Those Jews, there. Oh, they left the table. She looks most upset. She’s coming never change: they quarrel about religion all the here. time. Page. Don’t stare at her. First Soldier. I find it ridiculous, getting heated Narraboth. Yes, she’ll pass by us here. over such matters. Page. Don’t stare at her! Heed what I say! Narraboth. How fair the royal Princess Salome Narraboth. She’s like a fugitive dove at looks this evening! nightfall. Page. You stare too much at her. Your eyes never leave her! It’s always dang’rous looking at people here, just like that. Terrible things may Scene Two happen. Narraboth. She is so fair here this evening. Salome. I will not stay there. I cannot stay there. First Soldier. See how grim the Tetrarch looks. But why, why is Herod always leering at me, with Second Soldier. Yes, how grim he looks. his repulsive mole’s eyes, under those flickering First Soldier. But who’s he staring at? eyelids? It’s so curious that my own mother’s Second Soldier. I don’t know. husband looks at me so. Out here the air is Narraboth. How pale is her lovely face. I’ve so sweet. Here I breathe freely… In there are never seen her look so pale before. She’s like the gathered Jews from old Jerusalem, who decry reflection of a milk-white rosebud, caught in a their neighbours’ foolish rites and tear each other mirror of silver. to shreds and tatters. Secretive, crafty Egyptians, Page. You must not keep looking. You stare at and ill-mannered acrimonious Romans with her far too much. Terrible things may happen. their barbaric voices. Oh, how I do detest those The Voice of Jokanaan. After me shall come Romans! another, one far mightier than I. I am not worthy Page. Terrible things will happen. Why d’you to unfasten the buckle upon his shoes. When stare at her like that? he comes then shall all the desolate places be Salome. How lovely just to watch the moon. It joyful. When he comes then shall the eyes of the hovers like a silvery blossom, cool and chaste. It blind man see daylight. When he comes the ears has the beauty of a virgin forever undefiled. of the deaf shall be opened. Voice of Jokanaan. See that the Lord is Second Soldier. Make him silent! approaching, the Son of Man is near us. First Soldier. But he’s a holy man. Salome. Who spoke then, who was that calling Second Soldier. He’s forever shouting all that out? nonsense. Second Soldier. Princess, that was the Prophet. First Soldier. But he’s so kind… Every day when Salome. Ah, so he’s there! He, of whom I bring him food he thanks me, thanks me. Herod’s so frightened. 12

Salome Programme.indd 12 02/02/2015 13:11 Second Soldier. The likes of us don’t know, Salome. You will do this for me, Narraboth, I’m Princess, but that was the prophet Jokanaan who sure I’ve always treated you kindly. You’ll do this cried out. thing for me. I only want to look at this strange, Narraboth. Is it your wish I should have them outlandish prophet, the people have been go and bring your carriage, your Highness? The saying so much about him. I think that Herod is gardens look enchanting. afraid of him. Salome. He makes foul accusations that Narraboth. But the Tetrarch has firmly given concern my mother, does he not? orders that none of us may open the grille above Second Soldier. We can make no sense of his that cistern. words, your Highness. Salome. You will do this for me, Narraboth. Salome. Yes, he makes foul accusations Tomorrow they’ll take me in my carriage through concerning her. the gateway where the idol makers stand; if A Slave. The Tetrarch bids me ask the Princess if you’ll wait there,I will throw down a tiny flower she would join the feast again. for you as I’m passing, a tiny green flower. Salome. I’ll not go inside, there. This prophet Narraboth. But Princess, I cannot, I cannot! who spoke is old and grey? Salome. You will do this for me, Narraboth. Narraboth. But Princess, it would be better to You know you will do what I ask you. And then, go inside. Allow me to lead you back there. at dawn, under my veil of scented muslin, you’ll Salome. This prophet who spoke is old and see my eyes upon you, Narraboth, you’ll see that grey? I’m looking, perhaps you might see me smiling at First Soldier. No, this prophet is still quite you. Look at me Narraboth, look at me. For you young. know full well you’ll obey me, and do what I ask Voice of Jokanaan. Palestine, think not of you. You know it well! I know you’ll not refuse! rejoicing that the rod which smote you by His Narraboth. Guards, let the prophet be brought word is now destroyed. For, from the seed of the to us… for the Princess Salome will see this man. serpent, shall a basilisk flourish; its brood shall Salome. Ah! then devour the birds of the forest. Salome. How strangely he’s talking. I’d rather like to speak with him. Scene Three Second Soldier. Your Highness, but the Tetrarch decreed that none shall speak with this Jokanaan. Where is he, he, whose sins are man. He has said that even the High Priest in now without number? Where is he, who, when person is not to speak with him. the day comes, before the eyes of the people, Salome. I tell you I wish to speak with him. will meet his death clad in a silver robe. Bid him Second Soldier. But Princess, that is come straightway, that he on this day may heed impossible. the voice of one who in the desert and in the Salome. I want to speak with him. Go, bring me houses of mighty kings proclaimed the Lord. this prophet, out here! Salome. Of whom does he speak? Second Soldier. We can’t do that, Princess. Narraboth. No one knows the answer, your Salome. How black it all looks down in there. Highness. Oh, how terrible to live there in such a black, Jokanaan. Where is she who succumbed to gloomy cavern. It is just like a grave… You heard the lust of her body, who, when she beheld what I said? Bring me the prophet at once! I want those painted scenes of naked warriors, sent her him out here! messengers far into Babylonia? First Soldier. No Princess, we cannot obey the Salome. He speaks about my mother. order you have given. Narraboth. No, no, your Highness. Salome. Ah! Salome. Yes, he speaks about my mother. Page. What will happen now? I know something Jokanaan. Where is she whom the captains terrible is near. of Assyria seduced? Where is she, she who did 13

Salome Programme.indd 13 02/02/2015 13:11 Salome Libretto

give herself to the young men of Egypt, clad in no nearer! But go veil your face in token of finest linen, flaunting their gold and precious repentance, scatter ashes upon your head, then jewels, with their shields made of silver and their go out in the desert and seek out the Son of bodies like giants? Go bid her rise up from her Man! bed of incest, from her bed of corruption, that Salome. Who is that, the Son of Man? Is he as she may attend the voice of the prophet, who fair as you Jokanaan? prepares the way of the Saviour, that she may Jokanaan. Leave me, I say! For there in that now repent of her errors. And if she does not palace I hear the rustling wings of death’s dark repent, bid her come hear me, for the scourge of angel… the Lord trembles in His hand. Salome. Jokanaan! Salome. He is terrible. He is really terrible. Narraboth. Oh Princess, I beg you, go inside! Narraboth. Do not stay here, Princess, I beg Salome. Jokanaan! I am in love with your of you! pale flesh, Jokanaan! Your flesh is white as the Salome. But his eyes are the most terrible thing lilies upon a meadow where the scythe has of all. They’re black as the fearsome caverns never passed. Your flesh is white as the snow where a dragon lingers! They shine like sombre on the hills of Judea. The rose in the gardens of lakes where some unearthly moonlight flickers. Arabia’s fabled Queen is not so white as your D’you think that he will start to speak again? flesh, not the rose in the gardens of Arabia’s Narraboth. Do not stay here, Princess, I beg of Queen, nor the footsteps of dawn that waken you, do not stay! the forest, nor the breast of the moon upon the Salome. How deathly pale he looks! As though ocean. Naught in this world is so white as your he were carved out of ivory. I’m sure he is chaste flesh. Let me gently touch your flesh. like the moon. His flesh must be cool, cool as Jokanaan. Away, daughter of Babylon! It is ivory. I’d like to look closer at him. woman who brought Evil to the world. Don’t Narraboth. No, no, your Highness. speak to me, for I shall not hear you! The voice I Salome. I must look closer at him. hear is the voice of the Lord my Creator. Narraboth. Your Highness, your Highness! Salome. Your flesh is horrible. It looks like the Jokanaan. Who is this girl who’s staring? I’ll flesh of a leperous thing. It is like mould on a foul not have her glances fixed thus upon me. Just stained wall, when vipers spit their slime, just like why does she stare at me with those two eyes a wet slimy wall where the scorpions have built golden under their shimmering eyelids? I know their nests. It is like a musty rotten grave that’s not who she is. I do not wish to know who she is. full of many horrors. It is hideous, your flesh is Bid her go! For I will not speak to her. hideous. I’m enamoured of our hair, Jokanaan. Salome. I am Salome, the daughter of Your hair is like the vine harvest, like clusters, Herodias, and Princess of Judea. swarthy clusters in the vineyards of Edom. Your Jokanaan. Away, daughter of Babylon! Do not hair is like the cedars, the towering cedars of approach him the Lord has chosen. Your own Lebanon, where the lions and robbers cast mother has corrupted the earth with the wine their shadows. The long black nights of winter, of her orgies and the burden of her wickedness when the moon hides its face and the stars are cries to God. frightened, are not so black as your hair. The Salome. Speak on, speak on, Jokanaan, silent forest… Naught in the world is so black as wondrous music rings in my ears when you are your hair. Oh, let me caress your hair. speaking. Jokanaan. Away, daughter of Sodom! Do not Narraboth. Your Highness, your Highness, touch me, I say! nor dare profane the house of your Highness! the Lord, my Creator! Salome. Speak on, speak on, Jokanaan, and Salome. Your hair is hideous, a mat of dust tell me: what should I do? and rubble. It is a crown of thorns and briars Jokanaan. Daughter of Sodom, venture they’ve set upon your head. It is like a tangle of

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Salome Programme.indd 14 02/02/2015 13:11 serpents entwined in knots round your neck. Your Jokanaan. I don’t want to see you. You are hair does not charm me. It’s your mouth that I accursed, Salome. You are accursed. You are desire, Jokanaan. It’s your mouth that I desire, accursed. You are accursed. Jokanaan! Your mouth is like a scarlet band upon a tower of ivory, it’s like a fruit of pomegranate a silver knife has severed in two. But the Scene Four pomegranate petals in the gardens at Tyrus, ruddier than roses, are not so red. The blood- Herod. Where is Salome? Yes, where is the thirsty fanfares of the trumpets that proclaim Princess? And then, why did she not rejoin the some royal triumph, while the enemy cowers in feast when I’d ordered her to do so? Ah, there terror, are not so red as your scarlet mouth. Your she is! mouth is redder than the bare feet of men who Herodias. Your eyes never leave her. You tread the grapes gathered in the wine press. It should not stare at her so! is redder than the feet of the doves that nest in Herod. How peculiar the moon’s looking! Is it the temple towers. Your mouth is red as a coral not a curious sight? It has the face of a wild, half- branch in the twilight at sea, red as purple from witted wench who looks for lovers everywhere… the valleys of Moab, the purple of emperors… or one reeling thro’ the clouds like a drunken Naught in the world is so red as your mouth. Oh creature… let me kiss it, kiss your mouth. Herodias. No, the moon looks like the moon, Jokanaan. Never! Daughter of Babylon! just as usual. Let’s go back inside now. Daughter of Sodom… Never! Herod. I’ll stay here, I tell you. Mannasseh, lay Salome. I long for your mouth’s kisses, carpets on the ground! Bring some torches out! Jokanaan. I long for your mouth’s kisses. My guests and I will drink more wine outside Narraboth. Your Highness, your Highness, you here. Ah, something made me stumble. I slipped lovely garden of scented myrrh, you, the dove of upon this blood here, and that’s an evil omen. all the turtle doves, you must not look at him. Do Why should there be blood? And this dead not say such things to this man. I cannot bear to body? Yes, who can this dead man be? Then hear them… who is this dead man? I don’t wish to see. Salome. I long for your mouth’s kisses, Jokanaan. First Soldier. That man is our captain, sir. I long for your mouth’s kisses… Let me taste your Herod. I myself did not command anyone here mouth’s kisses, Jokanaan. to kill him. Jokanaan. Are you not frightened, daughter of First Soldier. He killed himself, just now, here, Herodias? sir. Salome. Let me taste your mouth’s kisses, Herod. That is most curious. This handsome Jokanaan! Syrian still looked so young. I remember now. Jokanaan. Daughter of a harlot, there lives I saw those languishing glances, he bestowed but one man who can save you now. Go, seek upon Salome. Take him off. It’s so cold here, and Him. Seek Him! He’s seated in a vessel on the there’s a wind… is there not a wind? sea of Galilæa and preaches to His disciples. Herodias. No, there is no wind. Kneel down, there, by the shore of the sea, call Herod. I swear to you there is a wind and I His name, His holy name of Saviour. When He can hear something stirring, like the wings of a approaches (and He comes to all who call upon mighty vulture. You hear that sound? Him), prostrate yourself before His presence, Herodias. I hear no sound. pray that He then may grant you forgiveness. Herod. Ah! now I cannot hear it. Oh, but I really Salome. Let me taste your mouth’s kisses, heard a noise, as if the wind were howling. Now Jokanaan. all is quiet. Hark! Do you not hear? The wings of Jokanaan. Be accursed, daughter of a a mighty vulture… shameless incestuous mother, be accursed. Herodias. You are sick. Let’s go back inside Salome. Let me taste your mouth’s kisses, now. Jokanaan. 15

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Herod. I am not sick, but it is your daughter who a man whom God has looked on. is sick and ailing. Never has she looked so pale First Jew. That can’t be true. For since the before. prophet Elijah, no man has seen our God. Herodias. I’ve told you many times you should He was the last man to whom God himself not stare at her. appeared. Today our God appears to no one. Herod. Pour some wine for me! Salome, come God is hiding. That’s why these fearful evils drink wine with me, this is marvellous wine. ravage the land we live in – fearful evils. Caesar gave it to me himself. Come and dip your Second Jew. But no one is certain that Elijah little lips in this wine. Your own little rosy lips, did in fact really see the Lord. It’s far more likely then I’ll drain the goblet empty. that it was a passing shadow that he saw. Salome. I am not thirsty, Tetrarch. Third Jew. God is at no time ever hidden. He Herod. Listen how she replies to me, she, who is showeth Himself at all times and in all creation. your daughter! God is in evil, even as in perfection. Herodias. She’s quite right. Must you leer at her Fourth Jew. You should not talk such nonsense, all the time? for that is a highly dangerous dogma from Herod. Bring me some fruit here. Salome, come, Alexandria. And the Greeks there are Gentiles. eat with me some of this fruit here. The bite of Fifth Jew. No one can tell us how God your delightful pearly teeth tearing the fruit fills works. All his ways are so mysterious. We can me with joy. Bite just a little piece, just a morsel but bow down our heads and obey His wise from off this fruit, then I will eat what is left myself. commandments, for God has much power. Salome. I am not hungry, Tetrarch. First Jew. You speak the truth there. Indeed, Herod. You see how your precious little God is righteous, but it is certain that this man daughter has been brought up! here has not seen God himself. For since the Herodias. Both my daughter and I come of prophet Elijah, no man has seen our God. an ancient royal line. Your father was a camel Second Jew. But none is certain that Elijah did driver. Your father was a thief and a bandit, in fact really see our God. furthermore. First Jew. He was the last man. Herod. Salome, come, come here to me. Your Second Jew. But no one is certain that Elijah own mother’s throne shall be yours this evening. did in fact. God is righteous, He breaks the Salome. I am not weary, Tetrarch. strongest to pieces. The strongest and the Herodias. You see how she respects you. weakest to Him are all alike. It’s far more likely Herod. Bring me – what is it I need? I seem to that it was His passing shadow. have forgotten. Ah! Ah! I remember now – Third Jew. God is at no time ever hidden. The Voice of Jokanaan. See, the time is upon Fourth Jew. You should not really say that. us, the day of which I spoke is near. They’ve not been circumcised either. No one can Herodias. Make him silent! That man there tell us how God works, for God has much power. insults me! Fifth Jew. No one can tell us how God works. Herod. It was not against you he spoke. It may be that the doctrines all the world Furthermore he is a prophet of renown. praises are evil and the doctrines others call Herodias. I have no faith in these prophets. evil are righteous. Our knowledge is pitiful. Our As for you, you’re afraid of him! knowledge is pitiful, yes, pitiful… Herod. I’m afraid of no one alive. Herodias. Make them silent! Herodias. I still repeat, you’re afraid of him. Second Jew. It’s far more likely that it was His Why not hand him over to the Jews out there? passing shadow… They’ve been screaming for months to get him. Herodias. They bore me to death! First Jew. That’s very true, it would be better if Herod. I’ve heard it said by people here, that you’d give him into our keeping! Jokanaan is quite clearly your own prophet Herod. Enough of this! I’ll never surrender him Elijah. into your keeping. For he’s a holy man. And he’s First Jew. That cannot be. Since the time of our 16

Salome Programme.indd 16 02/02/2015 13:11 great prophet Elijah, far more than three hundred woman here, this daughter of Babylon, thus says years have been counted. the Lord our God. First Nazarene. I’m quite certain that that is the Herod. It would be terrible if the dead came prophet Elijah there. back to plague us! First Jew. That cannot be. Since the time of our Herodias. Command him to be silent! great prophet Elijah, far more than three hundred The Voice of Jokanaan. Men shall soon rebel years have been counted… against this dissolute woman, they shall take up Second, Third, Fourth and Fifth Jews. stones and stone her in their multitudes! That’s not true, no, he can’t be the prophet Elijah. Herodias. You heard him, he’s outrageous! Herodias. Make them silent! The Voice of Jokanaan. The warrior chiefs The Voice of Jokanaan. Brothers, the day is shall gather round, and with their swords they near us, the day of the Lord. Far upon the distant shall pierce her, and with their many pointed mountains, I hear the footsteps of Him who’ll be shields they shall crush her! the Saviour of man. Herodias. You must tell him to be silent! Herod. What does that mean then, ‘Be the The Voice of Jokanaan. This must be, so that Saviour of Man’? all of this evil shall be uprooted, so that I shall First Nazarene. The Messiah is among us. teach the race of women never to venture on her First Jew. The Messiah is not among us. path of corruption! First Nazarene. He is among us and where he Herodias. You hear what he says against me? passes works great wonders. For at a wedding You’d let this man thus defame her who is your in Galilæa He turned water into wine, one wife? morning. Two lepers were cured instantly at Herod. He did not refer to you by name. Capernaum. The Voice of Jokanaan. The day is near, the Second Nazarene. His hands barely touched sun shall then be veiled in darkness like a sombre them. shroud. And the moon shall seem as of blood, First Nazarene. Some blind men also were and the stars of the Heavens shall fall upon the healed. He was seen upon a mountain, speaking earth, like shriveling figs from the fig-tree branch. low with angels from Heaven! The day is near when the kings of the earth all Herodias. Ho ho! I have no faith in wonders, shall tremble. I’ve seen too many of those in my time! Herodias. Ah! Ah! That prophet there babbles First Nazarene. The daughter of Jairus by His like a drunkard… What a disgraceful noise he is power was brought back to life. making, I can’t stand it! I hate his voice, I hate it! Herod. What, He brings the dead to life? Command him to be silent. Second and First Nazarenes. Ah, yes, brings Herod. Dance for me, Salome. the dead to life. Herodias. I will not have my daughter dance. Herod. I forbid this man such a thing. It would Salome. I am not in the mood for dancing be frightful if the dead came back to plague us! Tetrarch. Where is this man today? Herod. Salome, daughter of Herodias, dance First Nazarene. Sir, He is everywhere, but it is for me! not easy to find Him. Salome. I will not dance now, Tetrarch. Herod. This man must be apprehended. Herodias. You see, how the girl obeys. Second Nazarene. They say He’s in Samaria The Voice of Jokanaan. A king shall sit now, at this time. enthroned in glory. He shall be clothed in robes First Nazarene. He left Samaria at dawn of scarlet and purple. And the angel of God the other morning; I think you will find Him shall come to overthrow him. The worms of the somewhere on the outskirts of Jerusalem. darkness shall feed upon him. Herod. Enough, I forbid this man to bring the Herod. Salome, Salome, dance for me, I beg dead to life! of you. I am rather sad tonight, so dance for me. The Voice of Jokanaan. Of this lascivious Salome, dance for me! If you will but dance for 17

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me, then you may have whatever you decide. Herod. Do not rise, my wife, and my royal Your wishes shall be granted. Queen, for that will not help you. I’ll not go back Salome. Do you mean you will really give me inside until she has danced here. Dance then, anything I may ask for, Tetrarch? Salome, dance for me! Herodias. Do not dance, my daughter! Herodias. Do not dance, my daughter! Herod. Nothing, nothing you ask will be denied Salome. I’m ready now, Tetrarch. to you; though it be half of all my royal realm. Salome. You swear it, Tetrarch? Herod. I swear it, Salome. Salome’s Dance Salome. And how do you wish to swear it, Tetrarch? Herod. Ah, heavenly! Wonderful, wonderful! Herod. By my own life and by my own kingdom, Well then, you see that she has danced, your fair by gods I honour. daughter. Come here Salome, come here, you’ve Herodias. Do not dance, my daughter. earned your reward from me, you shall be Herod. O Salome, Salome, dance for me! royally rewarded. I’ll give you any treasure that Salome. You have sworn an oath before us, your heart desires. What must I give you, speak! Tetrarch. Salome. I want them to bring me now upon a Herod. I have sworn an oath before you. silver platter… Herodias. No, my daughter, do not dance. Herod. Upon a silver platter… why surely, Herod. Though it be half of all my royal realm. upon a silver platter… She is charming, no? And As a Queen you’ll be fair to see, yes, surpassing what shall they bring on a silver platter for your fair. Ah! It’s so cold here. There is an icy wind, pleasure, enchanting, radiant, Salome, you the and I’m hearing… Come, say, why do I hear that fairest jewel of all the maids of Judea! Come, sound like the wings of a vulture? Ah! It seems what shall they bring upon a silver platter to you? as though there’s some gigantic bird of dusky Tell me now! What you may ask me, to you shall plumage, hovering above the terrace. Oh, why be given. For a King’s treasures belong to you. can’t I see that bird up above me? Ah, these What is it you would have me give you, Salome? noises are frightful! An icy wind fans my face. Salome. The head of Jokanaan. No, I’m wrong, it is not cold, it is hot. Pour some Herod. No, no! water over my fingers, give me snow to swallow. Herodias. Ah! You are inspired, my dear Undo my cloak for me. Quick, quick, undo my daughter, you are inspired. cloak for me! But no, leave it! How my crown Herod. No, no, Salome, that cannot be what pinches. All these roses are like fire. you desire! Don’t take any notice of your mother. Ah, I breathe more freely. Now I feel happier. She always gave you bad advice. Pay no heed Dance for me, I beg you, Salome. to her. Herodias. There’ll be no dancing. I forbid it! Salome. I pay no heed to the voice of my Salome. I’ll dance for you, Tetrarch. mother. For by my own desire I want the head The Voice of Jokanaan. Who is this who of Jokanaan upon a shining silver platter. from Edom comes, who is this who from Bosrah Remember the oath you’ve taken, yes, Herod. comes, he whose robe is coloured with purple, Remember the oath you’ve taken, do not forget. who by his beauty radiates power and glory, Herod. I know, I know the solemn oath I’ve who comes here in all his shining splendour. Why taken, I know it well. And I have sworn by all are your garments bespattered with blood? my gods above me. But now I must beg of you Herodias. Let’s go back inside now. This man’s Salome, come, ask for something different of me. incessant voice makes me hysterical. I’ll not allow Come, ask for the half of all my royal realm, and my daughter to dance for you while that man that I will give you. But do not ask, I beg of you, carries on all the time. No, I will never let her what you have just now demanded. dance while you leer at her in such a manner. In Salome. I demand here from you the head of just a word, I will not let my daughter dance. Jokanaan. 18

Salome Programme.indd 18 02/02/2015 13:11 Herod. No, no, I do not wish to give it. touched his face. You cannot wish that I should Salome. Remember the oath you’ve taken, come to harm, Salome? Listen to me! Herod. Salome. I want the head of Jokanaan. Herodias. Yes, you have sworn an oath before Herod. Ah! You will not even listen. Be calm, us. You have sworn before us all. Salome. I’m, you see, quite calm now. Listen: Herod. Quiet, woman, for I did not speak to you. I’ve secretly hidden away some jewels of mine. Herodias. My daughter does right when she These jewels even your own mother’s eyes have demands the head of Jokanaan to reward her. never seen. I’ll show you a necklace with four He’s brought disgrace and shame on my head. strings of rubies, a topaz, yellow as the eye of It’s quite clear she still loves her mother so. Do a tiger. A lighted topaz, like the eye of a wood not yield, my daughter, do not yield! He has pigeon, a green coloured topaz, like mountain sworn an oath before us. cat’s eyes. I’ve sumptuous opals for ever burning Herod. No! I’ll hear no more! Salome, I must with hidden fires, cold as ice. And all of these I beg of you. Don’t be stubborn! See, I’ve always will give you, yes, all. I’ve chrysolites in plenty, felt so much love for you. Maybe my love for you chrysoberyls, chrysoprases, pearls unnumbered. was just too much. But do not ask me for this one And I have onyx stones and hyacinth clusters and thing. The head of a human, hacked from off his dusky red cornelians. I’ll give to you all these body, would be foul to look on. Mark what I tell jewels, all of these and many others. My crystal you. I have an emerald stone. The finest emerald ball could be yours, the law forbids any woman in all this world of ours. You’d like to own it to look in it. Inside a precious pearly casket perhaps? Then ask it of me, I’ll give you this I’ve secreted three most wonderful sapphires. jewel, the finest of all. Whoever wears them on his brow has power Salome. I will have the head of Jokanaan. to see many hidden things. These are priceless, Herod. But you’re not listening. But you’re not fabulous treasures. Say what else d’you wish for, listening. Pay heed to what I’m saying, Salome! Salome? All your secret desires I’ll gladly grant Salome. The head of Jokanaan. you, yes, all save one. You may not ask me for Herod. You still say that just to torment me, all the life of this prophet. I’ll give you the mantle the because I stared at your body. But your beauty High Priest holds most sacred. I’ll give you the made me confused. Oh! Oh! Bring wine. I’m curtains that veil the Holy of Holies… thirsty. Salome, Salome, let us be friends with Jews. Oh! Oh! Ohl one another, now. Consider… Ah! What was Salome. Give me the head of Jokanaan! I saying? Yes, what? Ah! Now I remember! Herod. Let her be given what she desires! She Salome, you know of my snow-white peacocks, is, quite clearly, her own mother’s child. Who all my lovely, snow-white peacocks, as they strut has taken my ring away? I know there was a ring around in the myrtle gardens. Now all of these, upon my right hand, here. Who has drunk the all, yes, all, I’ll give you. There’s no king alive, wine they gave me? There was wine here in my who has peacocks that can compare with these. goblet. Yes, it was full of wine and one of you I’ve barely a hundred. But I’ll give you all these, has dared to drink it. Ah! I’m sure misfortune lies with pleasure. in store for someone. Salome. Give me the head of Jokanaan! Herodias. My daughter has done what’s right! Herodias. Wisely said, my dear daughter! Herod. Yes, I’m certain fearful misfortune is Herod. Silence! You’re screeching like a bird of near. prey. Salome. I hear no noise from below there. Herodias. And you, you’re ridiculous, you and There’s not a sound! Why does the man not call your peacocks! for help? Ah! If anyone came down to kill me, Herod. How I hate that voice of yours. Silence, I know I’d struggle, I know I’d start screaming, I say! Salome, just think what you’re doing. I know I could not stand it! Now strike, now People say of this man that God has sent him. strike, Naaman, now strike, I command… No, And he’s a holy man. The Almighty’s finger has there’s not a sound. There is such a terrible 19

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silence? Ah! There’s something fallen down on in the world was so black as your hair. In the the paving. I’m sure that something’s fallen. That world of ours was naught so red as your mouth. was the sword of the headsman. He’s afraid, that And your voice exhaled the perfume of prayer, slave Naaman. It was his sword that has fallen! and when I looked on you I could hear a secret He’s terrified to behead him. He’s naught but a music so sweet. Ah! And why did you never look coward, that slave Naaman. Send the soldiers at me, Jokanaan? You bound your eyes in holy down! Come to me, you were the friend of the blindness, like one who hungered to see his God man who died there? Well then, you mark my shining in glory. Well! You looked on the face words: there are not yet enough dead men. of God, Jokanaan, but me, me, me, you have Go and tell the soldiers to obey, they must go never seen. If you had looked at me, you’d have down below there, and bring me quickly what fallen in love! I’m thirsting to drink your beauty. I demanded, that which the Tetrarch plainly I hunger to taste your flesh. No wine nor fruit promised, what is mine now! You hear me, you could banish all my fevered longing… What shall soldiers, get down into the cistern, this moment, I do now, Jokanaan? All the rivers, all the surging and bring me the head of the prophet! Tetrarch, waters cannot quench the fire of my desire Tetrarch, give orders to your soldiers, bid them and longing… Oh! But why did you not look at bring the head of Jokanaan to me! Ah! You me? If you’d but once looked at me you would would not let me kiss your mouth, Jokanaan! have fallen in love. I know for sure you would Well, I now will taste your kisses. I have a need have fallen in love. The glorious secret of love is to bite you, to bite you as one desires to bite into greater than is the secret of death. ripened fruit. Yes, for I will now kiss, kiss your Herod. You have an evil monster for a daughter. mouth Jokanaan. I said that I would. Is that not You mark my words, she is an evil monster. the truth? Yes, I said that I would. Ah! Ah! Yes, Herodias. My daughter has done what’s right. I I will now kiss your mouth… Well now, but why wish to stay here with her. do you not look at me, Jokanaan? And your Herod. Ah! There speaks my own brother’s wife. eyes that were so terrifying, so full of scorn and Come, I’ll not stay out here a moment longer. resentment, are now unseeing. Why are they so Come, come, I say! Surely some disaster is at unseeing? Lift those heavy eyelids and let your hand. We’ll hide away there inside the Palace. eyes be opened, Jokanaan! But why won’t you Herodias, my hands are starting to tremble. look at me? Do I frighten you, Jokanaan, that Mannasseh, Isachar, Ozias put the torches out. you will not look at me? Your tongue is silent, Come, veil the stars, come, veil the moonlight! it speaks no word, Jokanaan. Yes, that scarlet For some disaster is at hand. viper that spat its venom here at my feet! It is Salome. Ah! Now I have kissed your mouth at curious, no? How is it, that this poor, scarlet last, Jokanaan. Ah! Ah now, I have at last kissed viper now stirs no more. You spoke many evil your mouth. There was a bitter lingering taste things of me, yes, of me, Salome, the daughter upon your lips. Could it be blood I taste? No! For of Herodias, and Princess of Judea. Well then! for perhaps it’s the taste of love… They tell me I’m still alive, yes, but you are dead, and your that the taste of love is bitter… But what of that? head, your head belongs to me! It’s mine to do What of that? For I have kissed your mouth at last with as I wish. I could have it thrown to dogs Jokanaan. Yes, now I have kissed, kissed your down there, or the birds of the air. What the mouth. dogs may leave behind them, will be devoured Herod. Go, kill that woman there! by the starving vultures. Ah! Ah! Jokanaan, Jokanaan, you were fair. Your body was an ivory English translation by Tom Hammond. column with feet made of silver. It was a garden Reprinted by kind permission of English National full of songbirds in a slivery white glow. Naught Opera Benevolent Fund. in the world was so white as your flesh. Naught

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Salome Programme.indd 20 02/02/2015 13:11 Salome Programme.indd 21 02/02/2015 13:11 Biographies

GISELLE CONOR ALLEN, BREEN, Salome Fourth Jew

A native of County Giselle was born in Armagh, twenty two Belfast, and studied at the Belfast School year old tenor Conor of Music, Cardiff Breen read English University, The Literature at Queen’s Guildhall School of University of Belfast. Music and The Royal An NI Opera Young Academy of Music Opera School, where she is Artist, Conor has sung chorus with NI Opera in also an Associate. all of their major productions: Puccini’s Tosca; Wagner’s The Flying Dutchman; Donizetti’s Roles include: Tatyana (Eugene Onegin/ L’elisir D’amore; Verdi’s Macbeth; and Mozart’s , ), The Magic Flute. Outside of Northern Ireland, he Jenufa (Glyndebourne, Opera North), Musetta has sung chorus with Opera Theatre Company (/ENO, Opera North), Ellen Orford in their production of Weill’s The Rise and Fall of (/ Komische Oper Berlin, Opera the City of Mahagonny and L’elisir D’amore. North), Marie (Wozzeck/ COC Toronto), Miss Jessel (The Turn of the Screw/ Glyndebourne As part of his Young Artist duties, Conor Festival Opera). performed a recital with soprano Giselle Allen at Caledon Castle for the Earl and the For Opera North: , Katya Kabanova, Countess of Caledon. He has also participated Jenufa, Marenka (Bartered Bride), Donna Elvira in masterclasses with renowned tenor John (), The Fox (Cunning Little Vixen), Graham-Hall, and Iain Burnside, International Miss Jessel, and Ellen Orford. Visiting Artist at the Royal Irish Academy of Other roles include Vitellia (Clemenza/ Music. Conor is an ardent choral singer and Malaga) Iris and Countess (Figaro) for has sung with all the major choral institutions Opera Holland Park, Salome (Herodiade/ of Northern Ireland. He is currently a tenor lay Anna Livia Festival, Dublin), Geraldine (A clerk at St. Anne’s Cathedral, Belfast, and will Hand of Bridge/ Barbican), Gerhilde (Die tour France with the cathedral choir in 2015. Walküre/ ENO), Svatava (Fibich Sarka/ Conor has appeared as a soloist with: the Wexford), Wellgunde () and Armagh City Choir; the St. George’s Singers; the Gutrune (Götterdämmerung) for the Covent Ulster Youth Choir and Chamber Choir; and the Garden Festival, both Donna Eleonora (Salieri) Belfast Philharmonic Choir. and Jenny (The Rise and Fall of the City of Mahagonny) for the International Edinburugh Festival, Tosca for NI Opera, Marta (The Passenger/ ENO), Mimi (La Bohème/ WNO), Sieglinde at the RFH with Sir Andrew Davies, Ellen Orford for both the Festival and Opera North, Miss Jessel Turn of the Screw for Opera National de Lyon and Lisa Queen of Spades for .

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Salome Programme.indd 22 02/02/2015 13:11 NICHOLAS HAYLEY CHALMERS, CHILVERS, Conductor Dancer

Nicholas is the artistic Hayley is a London- director of Nevill Holt based dancer. She Opera and artistic trained at Italia Conti director of Second where she studied Movement Opera . One Company. He studied of the first things she music at Oxford did since graduating University and conducting at the Piacenza was work with Matthew Bourne’s New Conservatoire. From 2008 until 2011 Nicholas Adventures company on their 25th anniversary was Assistant Chorus Master of English National project ‘Prologue’, and it was from this point Opera. With ENO he prepared 24 operas for that she decided she wanted to train further in conductors including Edward Gardner, Mark contemporary dance. Hayley has since worked Wigglesworth, Sir Charles Mackerras, Baldur with many different dance/physical theatre Bronnimann and Sir Richard Armstrong. For companies on various projects from music videos Second Movement he has conducted Mozart to dance festivals, site specific pieces and full and Salieri (October 2004), Trouble in Tahiti length productions. Some of the companies (June 2005), The Medium and Impresario she has worked with include: Hinged Dance (January 2006), Les Deux Aveugles, Rothschild’s company on their production of Prisoner 466; Violin and The Knife’s Tears (May 2007). C-12 dance theatre on Promises, due to tour in Conducting engagements with NI Opera include Spring 2015; MonixArts – Survival of the Fittest The Medium (Feb 2011), Tosca (Best Opera - at Edinburgh Festival; Carpe Diem’s production Irish Times Theatre Awards – April 2011), Turn of Lord of the Flies; and Wide Eyed Dance and of the Screw (March 2012 and Buxton Festival Birdgang’s latest dance film, Take Off. Hayley is July 2012), Noye’s Fludde (Belfast Zoo - August also involved in an on-going project called The 2012, Beijing October 2012 and Shanghai July Natasha’s Project, using physical theatre and 2013), The Flying Dutchman (February 2013), dance to deliver performances and workshops. The Bear (March 2013), Macbeth (February 2014) and The Magic Flute (September 2014). With Nevill Holt Opera: The Magic Flute (June 2013), La Bohème and The Turn of the Screw (June 2014). Nicholas has recently worked at Opera National de Lyon and Zurich Opera and will conduct Carmen at Nevill Holt Opera (June 2015).

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Salome Programme.indd 23 02/02/2015 13:11 Biographies

BRENDAN MICHAEL COLLINS, COLVIN, First Nazarene Herod

Born in Cork, Ballymena-born tenor Brendan trained at Michael Colvin has the Cork School of appeared to critical Music, where he acclaim on opera was awarded the and concert stages Pro Musica Singer of throughout Canada, the Year Award. He the USA and Europe. continued his studies at the DITCMD and won His most recent role debuts include the title role a scholarship to study at La Monnaie de Munt of Peter Grimes at , Opera Studio. He holds a Gold Medal in acting Jaquino Fidelio with Le Cercle de l’Harmonie, from LAMDA. Der Steuermann Der Fliegende Holländer for Pacific Opera Victoria, Narraboth Salome for Among his roles are Conte Almaviva Le nozze Manitoba Opera and Goro Madame Butterfly di Figaro¸ Schaunard & Marcello La Bohème, for English National Opera. Escamillo & Dancaire Carmen, Aeneas , Leporello Don Giovanni, and Recent concert engagements include Beethoven Demetrius A Midsummer Night’s Dream. He has Missa Solemnis for the Richard Eaton Singers of performed with Opera Ireland, Opera Theatre Edmonton; Das Lied von der Erde for Louisville Company (OTC), English Touring Opera, Orchestra; Messiah with National Arts Centre Scottish Opera and Northern Ireland Opera. He Orchestra in Ottawa and Seattle Symphony; and made his American début at the Kennedy Center, Haydn’s Creation with New Mexico Symphony. Washington D.C. with OTC performing the The 2013/14 season saw Colvin reprising the American Première of the Irish composer Steven role of Bob Boles Peter Grimes with the London Deazley’s opera Bug Off! Philharmonic Orchestra, Accademia di Santa Cecilia, and at English National Opera. In the With Glyndebourne Festival Opera he appeared same production he also stepped in to replace as Arthur Jones in at the Festival, an indisposed Stewart Skelton, making his debut the BBC Proms the , and the in the title role of Peter Grimes. Brooklyn Academy of Music, New York City. Radio broadcasts have included RTE, Lyric FM In 2014/15 season he makes his Royal Opera and BBC Radio 3. On RTE Radio 1 he performed House debut as Rodolphe in a new production Haydn’s Creation with the Ulster Orchestra. He of Guillaume Tell and with Teatro Lirico di sang on the original cast recording of the Irish Cagliarihe performs as Peter Grimes. Other composer John Gibsons’ Judith and Holofernes highlights include Goro and Dr Caius for singing the title role of Holofernes. the Canadian Opera Company and Jacquino with Manitoba Opera. Future engagements include Marullo with Longborough Festival Opera.

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Salome Programme.indd 24 02/02/2015 13:11 PAUL CAROLYN CURIEVICI, DOBBIN, First Jew The Page

Paul made his debut Carrickfergus-born with the Royal mezzo-soprano and Opera House as Samling Scholar, John Worthing in Carolyn Dobbin, Gerald Barry’s The trained at the RSAMD Importance of Being in Glasgow and on Earnest (Linbury the OTC Young Artist Theatre). He will reprise the role next year in Programme in Dublin. London and at New York’s Lincoln Centre. Recent and future projects include the title role In opera, Carolyn Dobbin has worked with in Faust (Clonter Opera), creating the roles of numerous companies including Dorset Opera, Titorelli (Flogger)/Student (Philip Glass’ The English National Opera, Grange Park Opera, Trial) and Stephen (Huw Watkins’ In the Locked English Touring Opera, , Room) for Music Theatre Wales and Scottish Stadttheater Bern, Mid Wales Opera, Opera Opera, Jack O’Brien (cover-Mahagonny) for the Holland Park, The Opera Group, Raymond Royal Opera House, Eames (The Virtues of Things, Gubbay Ltd and , where ROH Linbury), and Don Basilio (Le Nozze di she was an Associate Artist in 2011. She was on Figaro) for Scottish Opera. He made his debut with contract in Switzerland from 2012-2014 where The Opera Group as Sam Kaplan , she sang Annio/La Clemenza di Tito, Penelope/ and recently repeated the role at Liceu Barcelona Il ritorno d’ulisses, Bradamante/Alcina and the and Théâtre du Châtelet, Paris. title role of Carmen.

A proud winner of Scottish Opera’s John Scott Stage highlights include: Janet/The Doctor’s Tale Award and the Basil A Turner Prize awarded by for ROH2 at the Royal Opera House, Covent British Youth Opera, Paul studied at the Guildhall Garden, and Scipio/Caligula and Hanna/The School of Music & Drama with John Evans. Passenger, both for English National Opera; Recent performances include Monostatos Die Andronico/Tamerlano for Capella Cracoviensis; Zauberflöte and Steuermann Der fliegende Meg Page/Falstaff for Opera Holland Park; Holländer (covers) for Scottish Opera, Painter/ Carmen in Luzern, Maddalena/Rigoletto and Young Man in Olga Neuwirth’s American Polina/Pique Dame for Grange Park Opera; and Lulu (The Opera Group), Orpheus Euridice and Lucretia/ for IYO. Sellem The Rake’s Progress (British Youth Opera), Henze’s song cycle Voices at the Barbican, a Concert performances include Handel’s Messiah concert of songs with the BBC Concert with the Philharmonia Orchestra and at the Royal Orchestra, Evandre Alceste, Rodrigues Don Albert Hall; Mozart Requiem at London’s Royal Quichotte, Ovando Alzira, Giuseppe La Festival Hall and for RTVE Madrid; Beethoven Traviata, Trabuco La Forza del Destino and Don 9th Symphony at the Barbican Hall, London and Luigi Maria Padilla for Chelsea Opera Group, Elgars Dream of Gerontius. Future engagements Flavio (Grange Park Opera), and Piquillo include Fatima in Weber’s Oberon, Verdi (cover) La Périchole and Monostatos (Young Requiem, Angelina in La cenerentola, a return Artists) for . to Switzerland to sing Dritte Dame in Die Zauberflöte, and Charlotte in Werther. 25

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ADRIAN ROBERT DWYER, HAYWARD, Narraboth/ Jokanaan Second Nazarene Robert Hayward Born in Melbourne, studied at the Adrian Dwyer studied Guildhall School of at the Guildhall Music and Drama School of Music and National Opera and Drama and the Studio and made his National Opera professional opera Studio, London. He made his professional debut singing the title role in Don Giovanni for debut as Rodolfo in Baz Luhrmann’s La Glyndebourne Touring Opera in 1986. Bohème in Los Angeles, winning an LA Stage Alliance Award for Outstanding Performance. Since then he has performed at the Royal Opera Since then his roles have included Bénédict House, English National Opera, Bayerische Béatrice et Bénédict (Opera Comique, Paris), Staatsoper Munich, Frankfurt Opera, Stuttgart Macduff Macbeth and Almaviva Barbiere di Opera, Welsh National Opera, Opera North, Siviglia (Scottish Opera), Andres Wozzeck, Scottish Opera and Glyndebourne Festival Jaquino Fidelio, Arturo Lucia di Lammermoor, Opera in a wide repertoire including Wotan Grailknight Parsifal, SS Officer in The Passenger and Wanderer/The Ring, Amfortas/Parsifal, (English National Opera), Miroslav/Harpist Jokanaan/Salome, the title roles in Eugene Excursions of Mr Broucek, Robert Skin Deep, Onegin, Don Giovanni, Mazeppa, Der Trin , Cerevin House of fliegende Holländer, Falstaff and Macbeth; the Dead and Janek The Makropoulos Case Iago/Otello, Scarpia/Tosca, Marcello/La (Opera North), Don Ottavio Don Giovanni Bohème, Escamillo/Carmen, Tomsky/The and Giuseppe La Wally (Opera Holland Park), Queen of Spades, Nick Shadow/The Rake’s Alfredo La Traviata and Almaviva Barbiere Progress, Mandryka/Arabella, Golaud/ di Siviglia (Opera Queensland), Rodolfo La Pelléas et Mélisande, Kurwenal/Tristan, Prince Bohème (Cape Town Opera, Royal Albert Hall), Ivan Khovansky/Khovanshchina, Simone in Sam Kaplan Street Scene (Opera de Toulon) Zemlinsky’s Florentine Tragedy and Telramund/ and Ismaele Nabucco (State Opera of South Lohengrin. Australia). Recent and forthcoming operatic engagements Recent and future highlights include Hermes include Fidelio, Moses und Aaron, Debussy’s King Priam and Inkslinger/Narrator La chute de la maison Usher for Welsh National for English Touring Opera, Huon Oberon for Opera, From the House of the Dead, The New Sussex Opera, Julien Louise at the Buxton Makropulous Case, Fanciulla del West and Festival, Aubry in Der Vampyr for the Cork Peter Grimes for Opera North, Il Prigioniero, the Summer Festival, Lemminkainen Swanhunter for title role in Bluebeard’s Castle and Telramund/ Opera North, and Trin La Fanciulla del West Lohengrin for Frankfurt Opera, Damnation of and Trabuco La Forza del Destino for English Faust for Staatstheater Stuttgart, the title role in National Opera. Mazeppa and Moses/Moses und Aron for the Komische Oper Berlin and Bluebeard’s Castle for Los Angeles Opera.

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Salome Programme.indd 26 02/02/2015 13:11 CORMAC DAVID LYNN, LAWLOR, Third Jew Fifth Jew David was born in Born in Tralee, Ballina and attended Cormac is a recent Gortnor Abbey graduate of the Secondary School Royal Irish Academy in Crossmolina. of Music, where Always interested in he studied under music, he completed Veronica Dunne. a degree in applied He is currently studying under Judith Mok. music from Dundalk Institute of Technology in 2011 and has since focused all his energy on As a student at RIAM, he has sung the role of utilising his operatic voice. He recently finished a Supt. Budd in ’s , MMus (Performance) from DIT Conservatory of David in Samuel Barber’s A Hand of Bridge, Music and Drama, under the tutelage of Stephen Cadmus in Handel’s and Simone in Wallace. David gained invaluable experience in Puccini’s . DIT, including playing the lead role of Rodolfo in La Bohème. Other professional engagements for Other operatic roles include the King of Egypt David include Aida, La Traviata (Lyric Opera), in Verdi’s Aida, Kromow in Lehar’s The Merry The Flying Dutchman, Elixir of Love, Macbeth, Widow, An Old Gypsy in Verdi’s Il Trovatore Magic Flute (NI Opera), and Rise and Fall of and Baron Douphol in Verdi’s La Traviata with the City of Mahagonny (OTC/Rough Magic). Lyric Opera Productions. Other operatic roles include Flute Midsummer Night’s Dream with the Yorke Trust, Norfolk, His concert works include Haydn’s Stabet Mater, while upcoming engagements include work with Handel’s Messiah, Bach’s Magnificat, Vaughan Opera North, Opera Theatre Company, and William’s A Serenade to Music and Bach’s North West Opera. He is also a prize winner at Christmas Oratorio. Feis Ceoil.

David also been a regular on the corporate and wedding circuit, working with the Opera Singing Waiters, and has performed for such dignitaries as President Mary McAleese, David Norris, numerous government ministers, and has appeared on the Late Late Show.

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OLIVER ANNA MEARS, MORRISSEY, Director Movement Director Oliver read English and History at Lincoln Opera includes: College Oxford, and The Magic Flute (NI began his career Opera & Nevill Holt), assisting playwright Macbeth, The Flying Howard Barker. As Dutchman, Noye’s Artistic Director of Fludde, Hansel & Second Movement Gretel (NI Opera); L’Elisir D’amore, The Barber Opera, Oliver directed many site-specific opera of Seville, Manon Lascout (Opera Holland Park); productions in London, including several UK stage premieres (of works by Fleischmann/ Orpheus in the Underworld (Scottish Opera). Shostakovich, Martinu, and Weisman) and a Czech Republic tour of Martinu’s The Knife’s Theatre includes: The Crucible (West Tears. He has also directed a prison project with Playhouse); King Charles III, (Wyndhams & lifers, Sweeney Todd (Pimlico Opera), La Calisto Almeida Theatre); Boeing Boeing, (Crucible (Early Opera Company), Hansel and Gretel Theatre); Circles (Birmingham Rep & Tricycle (Opera North), the National Opera Studio Theatre); World of Extreme Happiness (National Showcase 2010, The Bear (National Reisopera, Theatre); A Christmas Carol (Birmingham Rep); Holland), Albert Herring (Aldeburgh), David Pericles, Antony and Cleopatra, Marat / Sade, Almond’s My Dad’s a Birdman (), and The Grain Store, The Drunks, The Tragedy of The Magic Flute (Nevill Holt Opera). Thomas Hobbes, I’ll Be The Devil, Cordelia Dream (RSC); The London 2012 Olympic For Northern Ireland Opera, Oliver has directed Opening Ceremony (Movement Assistant); Tosca (Irish Times Theatre Award for ‘Best Opera Dunsinane and Caledonia (National Theatre Production’, 2011), Hansel and Gretel, Noye’s of Scotland); Bus Stop (New Vic Theatre); My Fludde (Belfast Zoo/Beijing Music Festival/ Shanghai Music in the Summer Festival), The Dad’s A Birdman (Young Vic); The Village Flying Dutchman (nominated for UK TMA Bike (Sheffield Theatre); The Comedy of Errors Award ‘Achievement in Opera’), Orpheus in the (Royal Exchange Theatre); My Generation Underworld (co-production, Scottish Opera), (West Yorkshire Playhouse); Hansel and Gretel L’Elisir D’Amore (with OTC) and Macbeth (Opera North); 101 Dalmations (Northampton (co-production, Welsh National Opera). Theatre Royal); Larissa and the Merchants, On His production of The Turn of the Screw was The Record (Arcola Theatre); Molly Sweeney nominated for two Irish Times Theatre Awards (The Print Room); and The Absence of War in 2013 (‘Best Opera Production’ and ‘Best (Headlong). Director’), and recently premiered at Novaya Opera, Moscow. In 2012 he was nominated In 2014 Anna was Artist in Residence for the for an ‘Achievement in Opera’ award by the UK Historic Royal Palaces, creating original dance- TMA Awards for his leadership of NI Opera, theatre pieces that respond to the history and and was nominated in the ‘Best Newcomer’ architecture of Hampton Court, Kew Palace, category at the 2013 Opera Awards. Future Kensington Palace, Banqueting House and the plans include Don Giovanni for Bergen National Tower of London. Opera.

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Salome Programme.indd 28 02/02/2015 13:11 RORY PADRAIC MUSGRAVE, ROWAN, Second Soldier/ First Soldier A Cappadocian After completing From Connemara, an undergraduate Rory Musgrave is degree in a recent Master’s International graduate of the Relations at Dublin Royal Irish Academy City University, Irish of Music where bass-baritone Padraic he studied with Philip O’Reilly. His roles for Rowan graduated from the Royal Irish Academy the RIAM included Harasta in Janáček’s The of Music in 2013 with a Masters in Music Cunning Little Vixen, Sid in Britten’s Albert Performance, studying with Mary Brennan. He Herring, Ben in Menotti’s The Telephone, Priest currently studies with Robert Dean in London. in Handel’s Semele and Marco in Puccini’s Gianni Schicchi. Engagements elsewhere A Jerwood Young Artist at the 2014 include Roommate in Flatpack (Ulysses Opera Glyndebourne Festival, recent awards include Company) Luka in Walton’s The Bear (Good the 2014 Glyndebourne Wessex Award, the Works Opera), and Uberto in Pergolesi’s The Dramatic Cup and Tony Quigley Award, the Maid as Mistress (Opera Antiqua). Gilbert and Sullivan Prize, and the German Government Cup at the 2013 Feis Ceoil in In addition to becoming an Opera Hub Dublin, as well as being awarded the 2013 Irené Emerging Artist with Opera Theatre Company, Sandford Award for Singers at the RIAM. He is 2014 saw Rory singing the role of Junius in The a 2012 alumnus of the Opera Theatre Company Rape of Lucretia (Irish Youth Opera), singing Young Associate Artists’ Programme. in the chorus of NI Opera’s Macbeth, Wide Open Opera’s Nixon in China, in which he Operatic engagements include Dottore Grenvil also understudied Richard Nixon, and in Rough (cover)/La Traviata (Glyndebourne Touring Magic/OTC’s The Rise and fall of the city of Opera); L’Autre Officier/Thérèse and The Mahagonny. He was recently involved in a Regent/The Sleeping Queen (Wexford Festival revival of L’Elisir d’Amore with OTC/NI Opera Opera); Sailor/Billy Budd (Glyndebourne (2014), in which he understudied the role of Festival Opera and Brooklyn Academy of Belcore. Music); Mr. Gedge/Albert Herring, Somnus/ Semele (RIAM); and Pastore/Orfeo (Opera As well as being the recipient of the John Theatre Company). His concert and recital McCormack Cup (2014) and the Mahler Prize appearances include Glyndebourne’s Ebert (2013) at the Electric Ireland Feis Ceoil, and a Room Recital Series, the Brighton Festival and finalist in the Irene Sandford Competition (2013), the National Concert Hall, Dublin. He has also Rory qualified for the Hans Gabor Belvedere participated in a number of Masterclasses, International Singing Competition in Amsterdam most notably with Sir . Upcoming (2013). He is presently studying with Andrew engagements include Bass Soloist/St. Matthew Watts in London. Passion with the RTÉ National Symphony Orchestra in Dublin, as well as participating in the 2015 Handel Académie at the Festival d’Aix-en-Provence in France. 29

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IAN RYAN, NICK SALES, Répétiteur/ Second Jew Assistant Conductor Nick’s recent Opera performances have Ian studied Economics included his debut at Selwyn College, for Welsh National Cambridge, and as Opera where he a répétiteur at the sang the title role in Guildhall School of Mozart’s Mitridate, Music and Drama, re di Ponto, Journalist and the National Opera Studio. He was a staff & Glazier in Philip Glass’s Orphée for the Royal répétiteur for Scottish Opera between 2007 Opera House, Covent Garden and Don Ramiro/ and 2010. He has also worked for Royal Opera La Cenerentola at Teatro La Fenice, Venice. House, Opera North, English National Opera, Welsh National Opera, Edinburgh International Other recent roles have included Alfredo/ Festival, Music Theatre Wales and NI Opera. La Traviata for Stanley Hall Opera, Count Performances with BBC Symphony Orchestra Almaviva/Il barbiere di Siviglia for Longborough include Nixon in China, conducted by the Festival Opera and Heritage Opera, Ottavio/ composer, at the BBC Proms and the Musikfest Don Giovanni for Heritage Opera, Belmonte/ Berlin. As an accompanist, he appears on the Die entführung aus dem Serail, Camille/The Meridian label with baritone . Merry Widow for CLASSIC Fest, Alfredo/La Ian is also a regular guest conductor of the Traviata for Opera Project and Heritage Opera orchestra of Music co-OPERAtive Scotland, with and covers, Danieli/Les Vèpres Sicliennes and performances of works by Britten, Verdi, Wagner Barbarigo/I due Foscari for the Royal Opera and the Scottish premiere of Rothschild’s Violin House. (Fleishman) at the Cottiers Theatre, Glasgow. In summer 2015, Ian will join the full-time music Between 2005 and 2010, Nick worked staff of the Royal Danish Opera, Copenhagen. extensively in Germany, where his roles included Ferrando, Cosi fan Tutte (Komische Oper, Berlin), Don Ottavio/Don Giovanni (Theater Lübeck/Oper Halle), Froh/Das Rheingold, Lurcanio/Ariodante, Italian Singer/ Rosenkavalier, Pedrillo/Die entführung aus dem Serail, Arturo/Lucia di Lammermoor, Kalil/ Die Arabische Nacht (Jost) and the title role in Handel’s Belshazzar (Oper Halle).

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Salome Programme.indd 30 02/02/2015 13:11 HEATHER KEVIN TREACY, SHIPP, Lighting Designer Herodias For NI Opera: Heather studied at Macbeth, The Bear, Trinity College of The Flying Dutchman, Music and at the Tosca, L’Elisir d’Amore National Opera (NI Opera/Opera Studio. Recent Theatre Company); 5 and forthcoming One Act Opera’s, part engagements of the 2012 Cultural include Magdalene Die Meistersinger von Olympiad (MAC Belfast); Turn of The Screw, Nürnberg (Royal Opera House‚ (NI Opera & Buxton Festival 2012; Kolobov Adalgisa Norma and Amneris Aida (Opera Novaya Theatre, Moscow 2014); Orpheus in the Holland Park), Carmen (title role)‚ 2nd Underworld (NI Opera/Scottish Opera). Norn and Waltraute Götterdämmerung‚ Sorceress Dido and Aeneas and Mad Opera designs include: L’Enfant et Les Sortilèges Margaret (Opera North)‚ Donna in (Philharmonia Orchestra, Royal Festival Hall); David Sawer’s Skin Deep (Opera North and (Handel Festspiele, Göttingen); Royal Danish Opera), Fiona in Two Boys (English La Bohème, Turn of the Screw, The Magic Flute National Opera)‚ Phoebe The Yeomen of the (Nevill Holt); Orango (Royal Festival Hall); Guard (BBC Proms) and Oscars Night with Carl Imeneo/Rodelinda (Royal College of Music); Davis (CBSO‚ Philharmonia , Royal Northern Flavio, The Fairy Queen, Xerxes (English Touring Sinfonia‚ RLPO and the Malaysian Symphony Opera); Certain Circles by Harrison Birtwistle Orchestra in Kuala Lumpur). (Dartington); The Nose (The Performance Corporation); Il barbiere di Siviglia, Don Further appearances include Giovanni, Rigoletto, Hänsel und Gretel, Gymnasiast Lulu (Royal Opera House and Les contes d’Hoffmann, Il viaggio a Reims, Teatro Real, Madrid), Zaida Il Turco in Italia and Pagliacci, The Medium, Suor Angelica (Wexford Wellgunde in the Ring Cycle (ROH‚ Festival Opera); La tragédie de Carmen (WFO, Eleanor The Music Programme (Linbury Theatre)‚ ETO); The Little Magic Flute (ETO, Opera Girl 3 in Sawer’s From Morning to Midnight and Theatre Company, Ireland); The Kiss, Hansel and Ofred’s Double The Handmaid’s Tale (ENO)‚ Gretel, , Xerxes (OTC). Nancy Albert Herring and Diana Devereux Of Thee I Sing (Opera North‚ Bersi Andrea Theatre includes: Unfaithful (Traverse Theatre); Chenier and Maddalena Rigoletto (Opera Arabian Nights, Romeo & Juliet (Sherman Holland Park), Eleanor in Roxanna Panufnik’s Theatre, Cymru); Blithe Spirit, Macbeth (Perth chamber opera The Music Programme (Polish Theatre/The Tron); The Shawshank Redemption National Opera), April Showers Playing Away‚ (Edinburgh Festival 2013); Love Billy (Lyric Moppet Paul Bunyan and Donna Skin Deep Theatre, Belfast); The Seafarer (Perth Theatre/ (Bregenz Festival)‚ Tisbe La Cenerentola Lyric Theatre, Belfast); The Government (Frankfurt and Opera Zuid) and Inspector, Arrah na Pogue (Abbey Theatre) Minskwoman (Adelaide Festival). Twelfth Night (Nottingham Playhouse); Dancing Shoes: The George Best Story (Grand Opera House, Belfast and tour) The Shawshank Redemption (Wyndhams Theatre, London; Gaiety Theatre, Dublin). 31

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DANIELLE ANNEMARIE URBAS, WOODS, Assistant Director Set and Costume Designer Danielle trained as an actor at the Drama Annemarie is Centre London. co-winner of the Ring Her acting credits Award Graz and include productions the European Opera for stage, TV Prize 2011. and film. She has previously assisted Oliver Mears on the following Recent designs include: Hair (Darmstadt), Turn productions - with Second Movement: The of the Screw (NI Opera / Nevill Holt), Alice Three Wishes (Tete a Tete, 2010), The Knife’s (Croation National Theatre), La Favourite Tears (Brno and Prague, 2010). With NI (Graz), Macbeth (NI Opera), Candide Opera: The Medium (2010), Orpheus in the (Opera National de Lorraine, Nancy) L’Elisir Underworld (Scottish Opera and NI Opera D’amore (NI Opera), The Importance of 2011), Turn of the Screw (2012), The Flying Being Earnest (Opera National de Lorraine, Dutchman (2013), The Importance of Being Nancy), The Triumph of Time and Truth/The Earnest (NI Opera and Wide Open Opera Triumph of Beauty and Deceit (Handel Festival Directed by Antony McDonald, 2013) Karlsruhe), La Cenerentola (Luzern Opera), and Macbeth (2014). She also assisted Daniel Der Zigeunerbaron (Stadttheater Klagenfurt), Slater on Fortunio for Grange Park Opera Katya Kabanova (Landestheater Coburg), Jakob (2013) and Ashley Page on La Bohème for Nevill Lenz (English National Opera), der Holt Opera (2014). This summer she revived the Drachentöter (Bayerische Staatsoper, Munich), critically acclaimed NI Opera production of The (Teatro Sociale Turn of the Screw for Novaya Opera in Moscow. Como), Sigurd the Dragon Slayer (Bavarian In 2012 Danielle made her directorial debut State Opera), Albert Herring (Aldeburgh) with Zatopek!, a short opera as part of the New and she provided the digital design to Alice in Music Festival 20x12 (Epstein theatre, Liverpool Wonderland (Scottish Ballet). and The South Bank Centre, London). Theatre includes: Over Garden’s Out (Riverside Studios), Twelfth Night and As You Like It (Classic Stage Ireland), Mother Teresa is Dead and Picasso’s Women (Focus Theatre Dublin), Well of the Saints and The End of the Beginning (Riverside Theatre, Coleraine), for Contact Theatre, Manchester she designed You Hang Up First, and Bro9 which won the Manchester Evening News Theatre Award for Best Design in 2004.

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Salome Programme.indd 32 02/02/2015 13:11 BOARD Roy Bailie OBE, Chairman Fionnuala Jay-O’Boyle CBE, Vice-Chair James Hunt Stephen Kingon CBE “There’s a real buzz and Ken Lindsay Professor Dolores O’Reilly sense of purpose about Jane Wells

what this company is doing” PATRON AND AMBASSADORS – Sean Rafferty, Patron The Countess of Caledon The Viscountess Dunluce NI Opera was formed in 2010, with a mission to William Montgomery OBE provide the highest quality opera to the widest possible audience, and to promote young MANAGEMENT TEAM Northern Irish talent. Generously supported by Artistic Director the Arts Council of Northern Ireland, NI Opera Oliver Mears has a philosophy of excellence and risk-taking General Manager underpinned by an imaginative programming Clíona Donnelly policy and first-rate casting. NI Opera is committed Marketing & Communications Director to broadening the audience for this incredible art Steven Hadley form that famously combines exciting stories, big Financial & Artistic Administrator spectacle, and great music. Rachel Clarke Development Manager Joey Devlin Marketing Assistant Andrew Forsythe

Salome Programme.indd 33 02/02/2015 13:11 “NI Opera is one of the best things to happen to the operatic scene in a long time” - Kasper Holten (Classic FM) “What a golden period opera in Northern Ireland is currently experiencing, unarguably the most exciting and The Bear (2013) enterprising in the country’s history” - Culture NI “A richly enjoyable and entertaining production” – Opera Magazine

The Magic Flute (2014) “An effervescently enjoyable evening” “Couldn’t have been more of a success…a Flute far-better- – Belfast Telegraph endowed companies would be proud to tour” The Flying Dutchman (2013) – The Sunday Times “An achievement of which Wagner himself would “Another strong entry in (NI Opera’s) four-year record. no doubt have been proud” – Watch this space, Irish opera has a new capital in Belfast, “A thrilling Wagner debut” dedicated to doing things of genuine interest.” - The Tablet – The Independent on Sunday “The great moments fly past in this assured production” - “Electrifying” – The Observer The Irish Times Noye’s Fludde (2012) Macbeth (2014) “A stunningly effective spectacle... a resonant, entrancing “This production is another memorable landmark production” – Opera Magazine for a company that’s just four years old” - The Times “An enchanting show” – The Sunday Times “The stars of the show are undoubtably the terrific chorus... who could hold their own with any comparable full-time “Simply gorgeous” – Irish Times association” - The Daily Telegraph The Turn of the Screw (2012) The Importance of Being Earnest (2013) “It’s remarkable” – The Independent on Sunday “Work of such uncompromising brilliance from a provincial UK company is, quite simply, astounding” “Absolutely superb” – Opera Magazine – Opera Now Hansel and Gretel (2011) “It is hard to imagine a more colourful, witty “Lively, funny and provocatively gruesome” and deliriously enjoyable staging than this” – The Sunday Times – The Sunday Times “A feisty staging of Humperdinck’s opera… “Hugely, riotously engaging and an absolute Northern Ireland Opera continues to punch must–see” – Belfast Telegraph above its weight” – The Independent on Sunday L’Elisir d’Amore (2013) Tosca (2011) “This was among the most unaffectedly heart–warming and “A triumphant debut” – Independent on Sunday well–thought–out Elisirs you could hope for” “A remarkable achievement…the results breathed charisma – Opera Now and conviction” – The Times “A real tour de force” – Irish Times www.niopera.com

Salome Programme.indd 34 02/02/2015 13:11 The Bear (2013) “A richly enjoyable and entertaining production” – Opera Magazine “An effervescently enjoyable evening” – Belfast Telegraph The Flying Dutchman (2013) “An achievement of which Wagner himself would no doubt have been proud” – The Daily Telegraph “A thrilling Wagner debut” – The Independent on Sunday “Electrifying” – The Observer Noye’s Fludde (2012) “A stunningly effective spectacle... a resonant, entrancing production” – Opera Magazine “An enchanting show” – The Sunday Times “Simply gorgeous” – Irish Times The Turn of the Screw (2012) “It’s remarkable” – The Independent on Sunday “Absolutely superb” – Opera Magazine Hansel and Gretel (2011) “Lively, funny and provocatively gruesome” – The Sunday Times “A feisty staging of Humperdinck’s opera… Northern Ireland Opera continues to punch above its weight” – The Independent on Sunday Tosca (2011) “A triumphant debut” – Independent on Sunday “A remarkable achievement…the results breathed charisma and conviction” – The Times www.niopera.com

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