Salome review: Insightful production reveals new subtleties

When Richard Strauss made his famous comment that the teenage princess in his new opera should have the mature voice of an Isolde, his first Salome, Marie Wittich, supposedly responded: “Either one or the other, Herr Strauss.”

Malin Byström, making a triumphant house debut in the role, goes a long way to satisfy the dual requirements: she has complete dramatic credibility while delivering the vocal part with a visceral energy that would surely have contented Strauss.

Though essentially a lyric rather than dramatic soprano, she has a rich middle to upper register, colouring the words expressively. Just occasionally one could wish for a bit more heft in the upper reaches, but she has the notes and paces herself well.

So too does Henrik Nánási on the podium, generating almost unbearable tension in the final pages but also responsive to the quicksilver glories of the score — the depiction of flickering moonlight or glittering jewels. Also outstanding in a strong cast is Michael Volle as Jokanaan. David McVicar’s insightful production reveals new subtleties in its third revival (by Barbara Lluch).

Avoiding the traditional exotic clichés of the Dance of the Seven Veils, he uses it to hint at the sexual grooming to which Salome has been implicitly subjected by her stepfather, Herod.

Until Jan 30, Royal Opera House