Theatre: Richard Strauss’s tale of sex, violence, incest and necrophilia invites excess, but Bruno Ravella instead deploys restraint – to outstanding effect
Sinéad Campbell Wallace in Irish National Opera’s production of Strauss’s Salome in the Bord Gáis Energy Theatre. Photograph: Patricio Cassinoni/Irish National Operaproduction, the director Bruno Ravella deploys restraint with great shock-preserving potency in a tale whose cocktail of sex, violence, incest and necrophilia invites excess.
Vincent Wolfsteiner, Sinéad Campbell Wallace and Imelda Drumm in Irish National Opera’s Salome. Photograph: Patricio Cassinoni/Irish National Opera Sopranos sometimes opt for a double, but Campbell Wallace performs the dance herself. And she is hugely successful. She is naturally youthful, making the look the relatively easy part for her. But it is in the dance itself where she and Roche triumph. Instead of a pole-dance vibe it begins with an expressive sequence of elegant gestures in the hands and arms.
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