Some Reflections on Singapore Lyric Opera's Salome

RICHARD STRAUSS Salome
Singapore Lyric Opera
Esplanade Theatre
Monday 22 August 2011

Back in 2004, when I was still a board member of the Singapore Lyric Opera (SLO), I had mooted that the company take a change in its direction by producing Richard Strauss’s Salome in 2005 to commemorate the 100th anniversary of its first performance. 

At that time, there was only one orchestra in Singapore that could have pulled it off – the Singapore Symphony Orchestra (SSO). Then questions arose as to a possible collaboration between SLO and SSO: Who was to conduct? Which organisation was to appoint the Director? And casting? And given the tepid relationship between two of Singapore’s premier musical organisations, the idea was soon dead in the water.

Seven years down the road, the SLO has an orchestra to call its own, largely due to the fact that Singapore now has enough professional level players to fill several orchestras. This was the reason why the orchestra that played from the pit of Esplanade Theatre for this year’s landmark Salome did not have screechy strings, scrawny reeds or off-pitch brass. If anything, conductor Peter Selwyn had a wonderfully fluid orchestra to work with, which contributed to the strengths of this Salome.

Make no mistake, this has to be one of the SLO’s greatest productions in its 21-year history. The casting was unusually strong, headed by Janice Watson in the titular role. Although director Andrew Sinclair made a strong case for Salome being a victim of her dysfunctional upbringing and circumstance, Watson’s portrayal of petulance and single-minded doggedness showed that she knew exactly what she was doing, and consequences be damned. 

Her repeated refrain of “Give me the head of Jokanaan!” rang like a mantra, and the audience lapped it up whenever the words appeared on the surtitle screen. Her moves were more cat-like rather than girlish, with seduction verging on psychosis, and finally crossing the line. The infamous Dance of the Seven Veils was assisted by six topless male dancers in Gani Karim’s very effective choreography, all very strategically placed as the last vestment came off, thus preventing this production from creeping into the R(A) category.

Opposite her, Dawid Kimberg’s Jokanaan was a youthful and heroic presence, which for some reason did not garner as much sympathy as John the Baptist normally would. Perhaps he was too self-righteous and judgmental. By the time his head was delivered on a silver platter (courtesy of Madame Tussaud’s), it had grown a moustache! Has there been an opera where every character was so dislikeable? Herod was whiny and neurotic, perfectly portrayed by a snivelling Hubert Francis (above), and opposite him the scheming and unforgiving Herodias convincingly played by Bernadette Cullen (below).

Although the main cast was imported, there were several Singaporeans and locally based singers in minor roles. Melvin Tan as the First Jew provided comic relief as he debated with his bevy of lawmakers, while Anna Koor played a surprisingly tomboyish page to Herodias. William Lim (First Soldier), Martin Ng (Firzt Nazarene and Cappadocian) and Reuben Lai (Second Nazarene) made up the numbers. All of them acquitted themselves well.

The sets were kept simple, and Sinclair’s direction was faultless in every detail. The two hours (with thankfully no intermission) passed smoothly and very quickly, building up to a terrific climax and Salome’s demise. On the first night, there was a blackout in the orchestra pit (rumour has it that an errant handphone plugged into a wrong socket had caused a short circuit), which led to the opera being started all over again. But no such worries on the third night.

The audience for this production was disappointingly small. It will take some time for the Singapore audience to realise that grand opera is not just about La Traviata, La Boheme or Carmen, but a world of discovery far wider than most can possibly imagine. 

The SLO is encouraged to continue producing operas outside of the Mozart-Verdi-Puccini axis without fear nor favour. And the powers that be should increase its annual support for a budget that can do three or more major productions a year, now that this company can be trusted on putting up a truly great show.

RICHARD STRAUSS'S SALOME COMES TO SINGAPORE! / A Few Words with Ng Siew Eng, Singapore Lyric Opera General Manager

SINGAPORE LYRIC OPERA Presents
RICHARD STRAUSS’S SALOME
Esplanade Theatre, 8 pm
19,20, 22, & 23 August 2011
Tickets available at SISTIC

NG SIEW ENG, General Manager of Singapore Lyric Opera was interviewed for this piece about the Singapore Lyric Opera's landmark production of Richard Strauss's Salome.

At long, long last. The Singapore Lyric Opera has finally decided to move in a new direction by producing an opera outside of the familiar Mozart-Verdi-Puccini axis. But why Richard Strauss’s controversial opera Salome?

Why not? The Singapore Lyric Opera (SLO) is a professional opera company and we have produced the most popular repertoire operas, as you have rightly pointed out. Richard Strauss’s Salome is already a staple of the world’s major opera companies. We are no exception. We also believe in extending the breath and depth of opera appreciation in Singapore by expanding our repertoire beyond the Mozart-Verdi-Puccini axis. It is also a very interesting opera and its lure is something we find hard to resist!

Briefly, could you tell our readers what is the big fuss about Salome?

It is challenging in many ways to stage this opera – both musically and financially - that people often wonder why do we want to do it at all. Given our limited resources, this would be the second most costly production the SLO has staged to date, after Puccini’s Turandot in 2009. However it is our belief that SLO must be able to undertake great works, beyond the lollipops of the repertoire that our audiences so love.

People have been talking about it from the minute the news came out that SLO was staging Salome. Musicians were sceptical and many people were aghast! SLO was so brave to even think about it! We are all very excited that the cast and orchestra are now involved in one of the most challenging opera scores ever written. We are proud to have Andrew Sinclair (left) from the Royal Opera House Covent Garden to direct and Janice Watson to sing the titular role.

You are also casting some heavyweights for the leading roles. Who are they?

Yes indeed. Besides Janice Watson (left), we have been very blessed to have some best vocal talents from the United Kingdom and Australia to be on this production. Hubert Francis is King Herod and Dawid Kimberg is Jokanaan; both are from the Royal Opera House London Covent Garden. We also have Bernadette Cullen from Australia. Its such an exciting cast helmed by conductor Peter Selwyn and assistant conductor Timothy Carey. For the orchestra, we have assembled the best orchestral players outside the Singapore Symphony Orchestra to be the SLO Orchestra.

Could you share with us some of the insights adopted by Director Andrew Sinclair?

Andrew Sinclair says: I really don't see Salome as a homicidal killer. If you look at the text and at the Oscar Wilde play she is definitely not portrayed that way. Neither Wilde nor Richard Strauss wanted her to be seen in that light. What happens is the result of her upbringing in a decadent atmosphere with a dysfunctional mother and stepfather. You could consider her a victim. She certainly deserves our pity.

Salome was definitely a shocking opera, by 1905 standards. Does it still have the shock factor in 2011?

Andrew Sinclair says: No, I don't think it is so shocking any longer. Society mostly has become very liberal. People could see something comparable to the final scene of Salome in the cinema or on television. I think some people tend to react with horror these days because it is an opera and the opinion is that opera is something "escapist". But opera is often about tragedy and Salome is a tragic figure. I know some people just don't like the subject matter and that is their choice. It's not a pretty piece but it is certainly an exciting one.

Finally, the question on everybody’s mind about Salome’s Dance of the Seven Veils. Will she, or will she not… strip?

Why does she have to strip? Yeah, we’ve seen lots of versions that have Salome strip after the last veil comes off. Director Andrew Sinclair does not believe in shock value as it detracts from the music and the story. And we cannot think for a moment that stripping is going to draw the audience but what goes on stage with Salome and her obsession that will draw people to watch Salome.