In the heart of New York City, Elza van den Heever takes on the gripping role of Salome at the Metropolitan Opera, and it leaves a lasting imprint on her psyche long after she steps off stage. Returning to her Upper West Side apartment, the South African soprano finds herself convulsing with disturbing dreams. “Each night is plagued with bizarre nightmares that feel startlingly real,” she explains. “There’s a persistent sense of darkness lurking in my subconscious, waking me in a sweat.”
Claus Guth’s intense directorial vision of “Salome” opens at the Met and runs until May 24. This marks the first new rendition of Strauss’ adaptation of Oscar Wilde’s play at the opera house since 2004. A notable broadcast of the show on May 17 will reach audiences across global theaters. Inspired by the biblical tale, “Salome” recounts the tumultuous story of the Jewish princess who performs a sensuous dance for her stepfather, Herod Antipas, securing the grievous reward of St. John the Baptist’s head.
Infusing new layers of psychological complexity into the production, acclaimed German director Claus Guth, making his Met opera debut at 61, transposes the narrative to a Victorian setting. Salome is accompanied by six body doubles, each showcasing different stages of her psychological fragmentation. These doubles, donned in black velvet and reminiscent of gothic organ pipes, evoke a haunting stillness akin to imagery from Stanley Kubrick’s “The Shining.”
This production faced several delays before coming to fruition. Originally slated for the Met’s 2021-22 season, it was postponed due to the pandemic. Furthermore, geopolitical tensions instigated changes, prompting the Met to craft their own sets. Guth’s vision includes pre-screened footage of a young Salome paired with a music box melody, setting an eerie tone. During the famous dance, multiple portrayals of age-matched Salome characters engage with Herod’s double, confronting stages of abuse depicted with unsettling realism.
Van den Heever describes her performance as navigating through shattered recollections, expressing how Herod’s increasing depravity engulfs Salome. Met’s music director Yannick Nézet-Séguin highlights the juxtaposition of Strauss’s enchanting music against the disturbing stage actions, enhancing the audience’s discomfort, while actor Gerhard Siegel embodies Herod’s sordid exploitation from a distance.
Reuniting with Guth for the first time since their collaboration in 2008, van den Heever feels a creative synergy rekindled. She fondly recalls her debut at Oper Frankfurt under his direction, emphasizing her admiration for Guth’s innovative theater, which she initially approached with trepidation.
Van den Heever also reflects on her role debut in a 2022 Paris Opéra staging by Lydia Steier, which included a controversial reinterpretation of the dance as a gang rape. Navigating such dark thematic landscapes was challenging, but she emerged committed to the director’s vision, evolving into a performance filled with conviction and authenticity.
A provocative element of this staging involves a monumental, 250-pound sculpture, which Salome topples during a climactic moment. Each performance features a new bespoke statue, crafted by Met’s construction team. The statue, created by head of props Gloria Sun and her team, is meticulously named and reimagined for each rehearsal, culminating in a dramatic visual impact during live performances.
In reflecting on the production’s deeply unsettling themes, van den Heever concludes, “Our aim is to leave audiences discomfited. If they remain indifferent by the end, we’ve missed the mark.” The eerie allure and multifaceted execution of this interpretation of “Salome” ensures it is an unforgettable experience that challenges and provokes its audience.