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Salome - NEW YORK—(I.I.N.)—The unqualified unqualified...
NEW YORK—(I.I.N.)—The unqualified unqualified approval with which 'a distinguished audience greeted the revival of "Salome" in the Metropolitan Opera House here recently was rather striking evidence evidence of our ever-changing definition definition of what constitutes naughtiness. naughtiness. Banned 26 Years "Salome"' was welcomed back with cheers to the place from which she was banished in disgrace disgrace 28 years ago. The return of the prodigal was in E-harp contrast to that occasion in January 1907, when tho opera was produced under under the direction of Heinrich Conried. Conried. There had been much discussion about the advisability of putting on a play with such potentialities potentialities for antagonizing tho clergy. But it wasn't the clergy that raised raised the loudest cries of protest. In the climatic scene of the opera, bejeweled occupants of the famous famous Diamond Horseshoe arose and left their boxes in unmistakable disgust and immediately after the final curtain, a. deputation of big-wigs called upon the management management to protest against any repetition repetition of this opera. Among the outraged gentlemen of the period were J. P. Morgan, Ogden Mills, George Gould and William K. Vanderbilt. Mme. Olive that memorable 1907 performance. She was in the audience at the revival, and her feelings may be better imagined than described on hearing the evidence of approval approval that greeted Mme. Goeta Ljungberg in the role of Salome. London, Too It wasn't only In New Tork that "Salome" was dismissed with the one word "shocking." When Maud Allen attempted to play excerpts excerpts from the opera in London, a hullabaloo ensued that finally developed into a cause celebre involving involving cabinet ministers and members of Parliament. Strangely enough, when Oscar Hammerstein produced the opera in the Manhattan Opera House In 1909, with Mary Garden in the feature role, there was little or no fuss. It was a big success from a financial viewpoint. But the Hammers-teln version was much milder than the play as originally written by Oscar Wilde and set to music by Richard Strauss. Siren and Saint The story of the opera, which scores of dramatists, writers and poets have woven Into endless variations is taken from the fourteenth fourteenth gospel according to St. Matthew. Salome, Princess of Judea, Is the Impetuous and beautiful Fermstad created the title 'role in daughter of Herodias. Accustomed to having gallants of the court of Herod obey her every command, command, she is irked when a humble humble holy man, Jokaanan, or John the Baptist, fails to succumb to her passionate wooing, taunting the Princess and court with denunciations denunciations of decadence. Salome's father, Herodias, Indignant Indignant at St. John's denunciations, denunciations, asks Herod to punish him. Herod, a wreck of degeneracy, Is easy prey for the wiles of the beautiful Salome. He asks her to dance for him and name her own reward. Then ensues the famous Dance of the Seven Veils, a hurricane of langor, caprice, 'seductiveness and savagery, all leading to murder. The music at this point of the opera is the highspot of the entire production. It ends with -a crash of eymbalE-, and Salome asks for her reward—the head of John the Baptist. Herod Implores her to ask for anything else. But the Princess insists and he yields. There is a moment of expectant horror. Then the head of John, on a silver salver salver is raised out of a cistern by a black arm and Salome, after another wild orgy of dancing, kisses the dead lips the saint had denied her in life. The play ends with Salome, Princess of Judca crushed to death beneath the shields of repentant Herod's soldiery.' soldiery.'

Clipped from
  1. Corsicana Daily Sun,
  2. 24 Jan 1934, Wed,
  3. Page 7

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