San Diego’s ‘Salome’ Takes the Epic Route

SAN DIEGO — Two “Salomes” in the space of a month might seem an embarrassment of riches. But the San Diego Opera version of Strauss’ shocker, which opened Saturday at the Civic Theatre, was sufficiently different in look and in voice from the L.A. Opera’s last month to intrigue any opera-goer.

Last month, we saw neo-Jugendstil decors, linking the action more closely to the time of Wilde’s libretto. San Diego went the opposite way.

Borrowing the Florida Grand Opera production, with heavy sets and gorgeous costumes by Allen Charles Klein, San Diego establishes a realistic period and time in the best Hollywood epic tradition. An oversized (“When Worlds Collide”) moon is the main concession to symbolism.

There’s enough decadence in the story, however, without the added outre elements of young men in loincloths for Herodias to pet or Herod wearing beneath his robes leather gear with, of all things, a Star of David on his chest.

Director Bliss Hebert focused intelligently on the dramatic conflicts. His Salome is an impulsive and willful teenager. His Jochanaan is half-crazed, partly vulnerable and at times wholly inspired. The confrontation between the two is physical and intense.

Oddly, and against the text, Hebert has Herod alone stab Salome to death at the end. A loud “boo” heard immediately afterward undoubtedly had more to do with this directorial decision than with Alan Woodward’s singing.

Making his San Diego Opera debut, Woodward was a strong Herod, bright in voice and complex in characterization. He did not deserve that uncouth response.

Also in his company debut was Robert Hayward as a vocally powerful, indeed clarion, Jochanaan. Though he did not have the sculpted bodybuilder physique on view in Los Angeles, he did have a fearful effect, looking much like an abandoned street person who suddenly ignites in prophecy.

Casting sisters Kristine Ciesinski and Katherine Ciesinski as Salome and Herodias, respectively, was a brilliant stroke, adding a different than usual psychological dimension to Herod’s lust. The two, some 16 months apart in age, look enough alike to suggest Herod is seeking in the daughter his wife as she once was.

Katherine has been a regular in the company, but Kristine was making her local debut. Both share similar vocal characteristics. The voices are not large, and there is a tendency for strain and wobble to surface. Indeed, Kristine’s vocalism was patchy and grainy, and often the voice disappeared in the orchestral texture. But much compensation was provided by the intensity and complexity of her acting.

She danced Nicola M. Bowie’s reasonably seductive choreography (with assists from the loincloth boys) as well as any singer could be expected to do. But even wearing a body stocking, she stopped short of the ultimate unveiling.

Richard Brunner was a strong Narraboth and Emily Manhart an arresting Page. The rest of the cast ranged widely in effectiveness and quality of voice. Of course, it couldn’t have helped for the soldiers to have to sing through nearly face-enveloping helmets.

Undoubtedly responding to the varying sizes of the voices, conductor Karen Keltner emphasized transparency of orchestral textures and balance between the pit and the stage. This approach also lessened some of the tension and forward drive of the music but made its own impact.

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* “Salome,” Civic Theatre, 202 C St., San Diego. Continues with this cast today, 7 p.m.; Friday, 8 p.m.; and Sunday; 2 p.m. $31-$86. (619) 570-1100.