PicksInSix Review: Salome - Lyric Opera of Chicago
“A Dark and Enthralling Operatic Experience”
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner
Richard Strauss’s “Salome” premiered in Chicago in 1910 and caused such uproar that after two performances, the opera was moved to Milwaukee. Soprano Mary Garden starred in the title role with a portrayal of the unsettling teenage princess that the president of the Chicago Law and Order League called “disgusting” in a letter to the Chief of Police. What a scandalous and iconic debut.
Now, after a twenty-year absence, “Salome” returns to the Lyric Opera of Chicago as provocative as ever. This North American premiere of Sir David McVicar’s production, directed by Julia Burbach, examines greed, lust, delusion, and obsession against a brutalist, raw concrete backdrop in 1930s fascist Italy. This production also marks my very first experience at the opera. What a thrilling and delightfully gory introduction to the art form.
Based on Oscar Wilde’s one-act play, “Salome” beautifully captures a dark world of limitless power and entitlement. Salome (Jennifer Holloway) leaves a lavish dinner party to escape the lustful and predatory gaze of her stepfather Herod (Alex Boyer). She then discovers the mesmerizing voice of Jochanaan (Nicholas Brownlee) imprisoned below the basement and demands to see him. Salome convinces Narraboth (Ryan Capozzo), a man utterly infatuated with her, to release the prophet momentarily so she can promptly appease her fascinations. Feelings escalate for Salome, and she quickly descends into a ravenous obsession with Jochanaan which drives an unrelenting pursuit of his adoration and affection. Jochanaan, however, denies every single one of her advances. He remains steadfast in his repulsion, curses Salome, curses her mother, and then returns to the prison.
Following this haunting display, and brilliant vocal performance, of Salome’s desperation and the prophet’s rejection, Herod, Salome’s mother Herodias (Tanja Ariane Baumgartner) and the dinner guests enter the basement for more madness. Jochanaan continues his misogynistic railing against Herodias from the cistern. Dinner guests argue over theology. The powerful orchestra under Tomáš Netopil delivers drama and extravagance. Herod remains fixated on Salome and promises her anything she wants if she dances for him. Despite her mother’s protests, Salome accepts the offer and the infamous “Dance of the Seven Veils” begins. In this staging, Salome performs the dance for her stepfather with hesitation. She struggles with the power she yields over Herod, and the brooding set design (Es Devlin and revival lighting design by Chris Maravich) creates an undertone of distress, not eroticism. As they move through the changing environments, we too experience her inner turmoil, and for those who chose not to read the synopsis beforehand like myself, we wonder which of Salome’s desires pushes her to undergo such deep and twisted pain.
Is it love? Surely love cannot be what drives Salome to demand the prophet’s head on a silver platter in exchange for her dance. But what is love in a palace of egomania? To have? To hold? Herod offers Salome jewels, royalty, land, anything else, and yet, all Salome wants is the head of a man who denied her—the “scarlet viper” tongue that “spat its venom” upon her. She gets his head, of course, delivered by a naked executioner no less, and then begins a mesmerizing near 17-minute monologue completely detached from reality. Covered in his blood, she lays with Jochanaan’s head, toggling between boasting about how she can kiss him now and lamenting over how he still will not return her gaze. Holloway’s commanding, all-consuming performance and the shocking conclusion left me stunned in the best way.
Between the dark story, history, powerful vocalists, cold and jarring staging, and dramatic score, I have not seen anything quite like “Salome.” The production works well as an introduction to opera while also showcasing the high-level vocal artistry, raw emotion, beautiful music, and an epic set design that I am told veteran opera-goers love. I feel compelled to express my gratitude to the Lyric, the production team, and the company for this memorable experience. Brava! Bravo! Well done!
GUEST CONTRIBUTOR | KAITLYN LINSNER serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.
PHOTO CREDIT
Kyle Flubacker
Andrew Cioffi
Lyric Opera of Chicago
presents
Salome
20 North Wacker Drive
through February 14, 2026
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