The soprano is playing the title part – ‘a beast of a role’ – in Richard Strauss’s 1905 opera, based on the Oscar Wilde play, for Irish National Opera
Sinéad Campbell Wallace on Salome: ‘It’s just an onslaught. You literally can feel it on your skin and in your body’
It’s based on a set of German designations that allocates singers to a particular Fach, a word whose meanings include expert, specialist and pigeonhole.
She first encountered the work in Joël Lauwers’s 1999 production for Opera Ireland. “I remember seeing it and thinking that it was wild, like absolutely. I don’t think I’d ever really seen anything like it before,” she says. “At that point I never could have imagined singing it or singing anything like it.” Even when she had resumed her career and someone mentioned Salome to her, “I still thought, oh, God, absolutely no, no way.”Oscars 2024: Cillian Murphy looks unbeatable.
Sinéad Campbell Wallace was nominated for outstanding achievement in opera at the 2023 Olivier Awards for her performance of the title role in Puccini’s Tosca for English National Opera. Photograph: Jeff Spicer/Getty “I suppose inhabiting her has been the most challenging part. And she’s been with me all the time since I started learning it. She’s just been with me all the time. So I affectionately call her Sally, and my mum will say, ‘How’s Sally today?’ or I’ll text my mum and say, ‘Oh, I’m just here with Sally.’ More than any other role I’ve ever done, she’s just completely just taken me over.”
“What’s most important to me is to make her as human as I possibly can. I think there are moments in it where she has realised that she has instigated this. So there’s a terrible pain and sorrow within her that she wanted this man; she wanted to kiss this man. And in a psychotic moment, or a neurotic moment, she demanded that this be done. But I think there’s a lot to be found in the text and the music that there is a huge regret in her also. She has the head, you know; she’s allowed to kiss it.
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