There's initially a sense of dislocation then when you view director Nikolaus Lehnhoff's 2011 production of Salome for Baden-Baden, as it has few of the superficial visual reference points that you would normally associate with its biblical Judean setting, and little even of the stylised imagery of moonlight nights and shadows of death suggested by a text derived from Oscar Wilde's beautifully decadent overwrought imagery. This version of Salome however is far from a straightforward biblical tale, but rather an expression of dark sexual pathology, of the fulfilment of dangerous desires, of obsession and lust, a lurid study of the power that those perverse drives confer on both the object and the subject of those desires and how it differentiates men and women.
The fractured, slightly titled landscape here in Salome then suggests a psychological imbalance, while the contrasts that are expressed in the music and the characters are reflected in the textures of the walls and floors of the unconventional stage arrangement, with a dark glossy reflective centre-stage surrounded by crumbling plaster, broken tiles and rotting whitewashed wooden panels. It's far from naturalistic, but then there's nothing naturalistic about the situation or Strauss' aggressive music that pushes the boundaries of the tonal system. That dark fascination of this 'Liebestod' situation and conflict is there in the orchestration, the composer scoring directly in response to the flow and the tone of Hedwig Lachmann's German translation of Wilde's drama, and the music is accordingly intense, intimate, perverse and disturbing, but with a romantic sweep that captures the grander epic nature of the lurid melodrama.
The approach to the tone of the drama and the music and how it is reflected is important, but equally as important is how it is interpreted. The cast assembled here for the Baden-Baden production deliver superb performances to match the attentive detail that is brought out of the score by the orchestra under Stefan Soltesz. Angela Denoke plays Salome as if she is in thrall to the bizarre situation and the potential that it suggests, and that suits the production perfectly. There's a rising intensity in the performance that is in line with the score and she seems to be attuned to the slightest variations of tone within it. Alan Held is a rather more animated Jochanaan than others I have seen, less mystical and more of a firebrand prophet, and that works well with the heightened aggression on display. In this respect, the head of Jochanaan possessed by Salome at the still shocking conclusion, is also one of the most frighteningly realistic I've ever seen in a production of this opera. Theatrical prosthetics have come a long way over the years.
The Blu-ray from Arthaus is of the usual exceptionally high standards. The image is crystal clear to catch the full lighting, colour and contrasts of the set. The audio tracks are PCM Stereo and DTS HD-Master Audio 5.0, breathtaking in High Definition clarity. This is really an amazing way to view and listen to this extraordinary work. The production, incidentally, is clearly a live performance, but there are no signs of an audience being present at the opening or close of this one-act opera - much like the Lehnhoff sister production of Elektra for Baden-Baden, already available on DVD. There are no extra features, but the booklet contains a good essay on the work, a full synopsis and notes on the production by the director. The disc is BD25, region-free, 1080i full-HD, subtitles are German, English, Italian, French, Spanish and Korean.