Photo courtesy New Orleans Opera

The New Orleans Opera opened its production of Salome Friday night at Mahalia Jackson Theatre. NoDef's Ian Hoch was there, and he runs down all the revenge plots, murder, and paternal control issues that unfolded on stage. Oh, and there was singing, too.

Richard Strauss’ Salome is a perfect introductory opera. For starters, it defies the cliche of the medium as a soporific. In short, the work is short, clocking in at a meager (opera-wise) one hour and forty minutes. The Oscar Wilde-conceived plot line is dark and pulpy, moving quickly, and providing just enough visual shock to keep the audience engaged. The New Orleans Opera Association's production is akin to a a mix of Robert Rodriguez and David Lynch. For instance, the climactic scene involves the blood-soaked heroine making out with a severed head. Sophia Coppola, eat your heart out.
 

Said heroine is the demented Princess Salome (Mlada Khudoley) and the head once belonged to the Prophet, Jochanaan (Ryan McKinny). Strauss’ opera tells the story of the Princesses’ on again, off again courtship. Salome throws herself at Jochanaan in the opening scenes, but he insists on playing very hard-to-get. Of course, this being an opera, there is a disapproving stepfather, King Herod (John MacMaster,) and a slighted mother, Queen Herodias (Gwendolyn Jones,) involved. Their rendezvous with the genre’s assigned fates is delivered with all the subtlety of Shakespeare’s Titus Adronicus.
 

Soprano Khudoley has been performing the role since 1998, and it shows in her flawless handling of the part.  She manages to capture the energetic, obsessive sexuality of youth. Likewise, she plays the role of petulant teen denied convincingly. Of equal importance, she hits all of her notes.
 

Bass-Baritone McKinny displays his rich voice whenever he graces the stage. His persistent rejections of Salome also serve to lighten the mood. Oblivious of Rush Limabugh’s recent rhetoric, he self righteously labels his suitor a “whore” on more than one occasion.
 

We regret that Strauss opted to kill the handsome Narraboth off so early in the opera because tenor Sean Panikkar is great as Salome’s protector. The Syrian soldier is so horrified by her actions he opts to put a knife in his gut rather than watch her obsess over the filthy Prophet.
 

The unsung stars of the production are makeup artists Don and Linda Guillot. Their work is absolutely stunning and threatens to steal the show at times. Salome describes the Prophet’s eyes as “black caves where dragons live.” The Guillots transformed McKinny’s face into a terrifying visual manifestation of this verse. Likewise, Herod’s face was a grotesque mastery of the art. One theatergoer likened his appearance to Heath Ledger’s Joker. Even the supernumeraries are done up like royal circus freaks, with gold-painted slave children running underfoot of the monstrous King and Queen.
 

Katrin Hilbe directed the production. Excellent blocking helped tell the story, and her fast pace kept the audience’s attention as the demented characters raced towards their fateful ends. The work is known for Strauss’ use of leitmotifs (essentially theme songs for each character,) and Hilbe does an excellent job of syncing the players’ physical movements with their distinct melodies.
 

As always, the Louisiana Philharmonic Orchestra, conducted by Robert Lyall, played beautifully. By design, the pit orchestra is often overlooked. Yet, New Orleans is fortunate to have an excellent orchestra, and we feel that a tip-of-the-cap is well deserved. Of note to fans of “big opera,” Salome has no chorus.
 

G. Alan Rusnak created one multi-level set, massive enough to wow the audience for the entire 100 minutes. The centerpiece is unquestionably a huge moon which moves slowly across the back of the stage. Lighting Designer Don Darnutzer magically turns this satellite blood red during Salome’s final breakdown. The effect is dazzling.

The final performance of the New Orleans Opera Association's Salome is Sun., March 4 at 2:30 p.m. in Mahalia Jackson Theatre. Ticket info here.