
Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enigmatic and virtuous man, Salome is ready to do anything to possess him, dead or alive. Drawing on Oscar Wilde’s scandalous play of the same name, in 1905 Richard Strauss produced the work that was to ensure his status as Wagner’s successor in the history of German opera. A dazzling hour and forty minutes, decadent in its very essence, which, for her debut at the Paris Opera, Lydia Steier treats as a dystopia in which amorality rules.
Directed by François-René Martin, Salomé (Opéra de Paris) leans on a strong ensemble — Elza van den Heever, Karita Mattila, Iain Paterson — to carry a story that balances spectacle with character.
The film landed with audiences for its craft and performances, and remains one of the most talked-about music titles of 2022.
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