Salome (Opera Australia)

ABR Arts is generously supported by ABR Patrons and Copyright Agency Cultural Fund.

Michael Halliwell Thursday, 07 March 2019
Published in ABR Arts

Alex Ross, at the start of his acclaimed survey of twentieth-century music, The Rest Is Noise: Listening to the twentieth century, describes in vivid detail the luminaries gathered for one of the first performances of Richard Strauss’s Salome in Graz on 16 May 1906, five months after the Dresden première. At this performance, conducted by Strauss, prominent musical figures present included Gustav Mahler (with his wife Alma), Giocomo Puccini, Arnold Schoenberg, Alexander von Zemlinsky (who would use two of Oscar Wilde’s works as the basis for his own operas), and Alban Berg, composers who would change the course of music and opera in the new century. There is speculation that a seventeen-year-old aspiring artist named Adolf Hitler might have been in this audience as well.

This startling collection of musicians, assembled in what is a small provincial Austrian city, conveys the importance of Strauss in the cultural firmament of the time and suggests the excitement his new opera had already generated. Despite some resistance, particularly from censors as well as critics, the opera has become one of Strauss’s most performed works – with great satisfaction, he observed that it paid for his villa at Garmisch – and it still continues to excite controversy. The cultural flux out of which the opera emerged is fascinating, and it can be considered not only a musical but also a broader cultural watershed, reflecting and crystallising artistic currents of the late nineteenth century but also pointing the way forward.

Read the rest of this article by subscribing to ABR Online for as little as $10 a month.

We offer a range of subscription options, including print, which can be found by clicking here. If you are already a subscriber, enter your username and password in the ‘Log In’ section in the top right-hand corner of the screen.

If you require assistance, contact us or consult the Frequently Asked Questions page.

Published in ABR Arts
Michael Halliwell

Michael Halliwell

Michael Halliwell studied literature and music at the University of the Witwatersrand in Johannesburg, at the London Opera Centre, and with Tito Gobbi in Florence. He has sung in Europe, North America, South Africa and Australia and was principal baritone for many years with the Netherlands Opera, the Nürnberg Municipal Opera, and the Hamburg State Opera singing over fifty major operatic roles, including several world premiere productions. He has served as Chair of Vocal Studies and Opera, Pro-Dean and Head of School, and Associate Dean (Research) at the Sydney Conservatorium. He is Vice President of the International Association for Word and Music Studies. His publications include the monographs, Opera and the Novel (Rodopi: 2005); and National Identity on Contemporary Australian Opera: myths reconsidered (Routledge, 2018), as well as many chapters and articles. He still performs regularly and recent CDs include When the Empire Calls (ABC Classics, 2005); O for a Muse of Fire: Australian Shakespeare Settings (Vox Australis, 2013); Amy Woodforde-Finden: The Oriental Song-Cycles (Toccata Classics, 2014); That Bloody Game; Australian WWI Songs (Wirripang, 2015).

Leave a comment

Please note that all comments must be approved by ABR and comply with our Terms & Conditions.

NB: If you are an ABR Online subscriber or contributor, you will need to login to ABR Online in order to post a comment. If you have forgotten your login details, or if you receive an error message when trying to submit your comment, please email your comment (and the name of the article to which it relates) to comments@australianbookreview.com.au. We will review your comment and, subject to approval, we will post it under your name.