{"id":119885,"date":"2025-12-01T15:28:48","date_gmt":"2025-12-01T20:28:48","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=119885"},"modified":"2025-12-02T12:42:59","modified_gmt":"2025-12-02T17:42:59","slug":"scrutiny-opera-requests-salome-dazzles-vocal-dramatic-talent","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2025\/12\/01\/scrutiny-opera-requests-salome-dazzles-vocal-dramatic-talent\/","title":{"rendered":"SCRUTINY | Opera By Request\u2019s Salome Dazzles With Vocal And Dramatic Talent"},"content":{"rendered":"
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The cast of Opera by Request\u2019s presentation of Richard Strauss\u2019 Salome at College Street United Church, November 29, 2025 (Photo: Anya Wassenberg)<\/figcaption><\/figure>\n

Opera By Request: Richard Strauss,: Salome in concert. Salome: Antonina Ermolenko, soprano; Herod: Jason Lamont, tenor; Herodias: Cristina Pisani, soprano; Jochanaan: Michael Robert-Broder, baritone; Narraboth: Oliver Munar, tenor; Page: Meghan Symon, mezzo-soprano; Nazarenes: John Darrigo, tenor; Steven Henrikson, baritone; Soldiers: Steven Henrikson, Henry Irwin, baritones; Cappadocian: Yury Jakimec, baritone; Jews: Avery Krisman, Francis Domingue, Oliver Munar, tenors; Henry Irwin, baritone. William Shookhoff, music director and pianist. College St. United Church, November 29, 2025.<\/strong><\/em><\/p>\n

Opera by Request offers a unique opportunity both for singers and audience members. It\u2019s the singers, rather than the director, who choose the repertoire. It translates into passionate and lively performances, and repertoire that audiences may not see on stage so often.<\/p>\n

It\u2019s easy to understand why singers (particularly star sopranos) would choose Richard Strauss\u2019 Salome \u2014 a tale of lust, depravity, obsession, and sin, where redemption is offered, and summarily ignored.<\/p>\n

In short, a range of juicy roles where inner divas and demons can be let loose on stage.<\/p>\n

The Story<\/h3>\n

And when the daughter of the said Herodias came in, and danced, and pleased Herod and them that sat with him, the king said unto the damsel, Ask of me whatsoever thou wilt, and I will give it thee.<\/em> (Mark 6, v. 22, from the King James version)<\/p>\n

Herod Antipas, a tetrarch, or hereditary ruler of Galilee, then part of the Roman Empire, is besotted with Salome. He promises her anything \u2014 even to half his kingdom \u2014 if she will dance for him.<\/p>\n

What results is the infamous dance of the seven veils, and her request to have the head of John the Baptise (Jokaanen in the opera) head delivered to her on a silver platter.<\/p>\n

The story is a familiar one that is told in the Bible books of Mark 6:17\u201329 and Matthew 14:3\u201312. In them, however, the focus is on John the Baptist, whose head ends up on the silver platter in exchange for Salome\u2019s infamous dance for Herod Antipas \u2014 her stepfather. She is the daughter of his wife Herodias from her prior marriage to Herod Philip, Antipas\u2019 half-brother.<\/p>\n

Interestingly, Salome is never named in the Bible itself. However, fascination with the story has led to its treatment by various artists over the centuries, including Oscar Wilde\u2019s play, and Strauss\u2019 opera.<\/p>\n

Strauss\u2019 opera puts her centre stage, and fleshes out the story with detail. Salome is a bewitching figure who essentially dazzles everyone around her, with the notable exception of Jokaanen, who remains unmoved. Her open lust for him only fuels his unending tirades against her mother Herodias and her \u201cincest\u201d (because she was wife to his half-brother before marrying Herod Antipas).<\/p>\n

Performances<\/h3>\n

At the centre of the story, naturally, is Salome, played with a vixenish charm by soprano Antonina Ermolenko<\/strong>. Clad in a scarlet gown, she is naturally the centre of attention while on stage, and marries her stage presence with impressive vocal chops that could range from a seductive whisper when she tries to tempt Jokaanen to kiss her, to a strident rage when he does not.<\/p>\n

Salome is a beautiful monster in the opera, fickle and impulsive, and someone whose desires and impulses have clearly never been put into question or held in check. Ermolenko embodies her whole emotional range. She\u2019s relentless in her attempted seduction, then at turns gleeful and seemingly driven half-mad by the result of her own request for Jokaanen\u2019s head.<\/p>\n

Tenor Oliver Munar<\/strong> as the captain Narraboth is the first to fall under her spell in the opening scenes. He tries to protect her from her follies, and get her out of Jokaanen\u2019s way, but all to no effect. Munar is a strong singer, and had some lovely passages where he opines on Salome\u2019s beauty.<\/p>\n

As Jokaanen, Michael Robert-Broder<\/strong>\u2019s character had a more limited emotional range, and often sang from off stage (ostensibly in his cistern prison). Nonetheless, Robert-Broder created a strong presence in the opera even as he relentlessly berated the sinful rulers of Galilee.<\/p>\n

Likewise, soprano Cristina Pisani<\/strong>\u2019s Herodias occupies a supporting role. She\u2019s the wife who scornfully tells her husband that he\u2019s the son of commoners, and fruitlessly counsels Salome not to dance for her obviously lust-driven husband. But after she does, and hears the price Herod and Jokaanen will play, she turns smiling and vengeful. Pisani has a rich voice that nicely embodied the role.<\/p>\n

Tenor Jason Lamont<\/strong> also shines in the unsympathetic role of Herod, both vocally and dramatically. He\u2019s the stepfather without appropriate boundaries, bewitched by his stepdaughter, and heedless to the wife who\u2019s right at his side. But then, the cracks begin to show as he turns from gratitude at the dance to growing horror at what Salome is really after, and paranoia and madness take over. Vocally, he goes from soft tenderness as he tries to coax Salome into other options (including eating fruit), and convincing anguish at what he\u2019s done.<\/p>\n

The ensemble cast had no weak links, including the Jews, soldiers and Nazarenes, the Page and Cappadocian, and their varied reactions to not only the situation at hand, but the rumours of a Messiah who is traveling down the coast and working miracles along the way.<\/p>\n

Final Thoughts<\/h3>\n

Bill Shookhoff<\/strong> provides able piano accompaniment of the difficult score, offering shimmering lines and expressive delivery that\u2019s set against the mayhem on stage.<\/p>\n

Strauss\u2019 opera, with its challenging music, requires advanced vocal and also dramatic skills. It would be wonderful to see this outstanding cast in a fully staged version of the work.<\/p>\n