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date: 24 November 2020


  • David Murray


Musikdrama in one act by Richard Strauss to Hedwig Lachmann’s German translation of Oscar Wilde’s play; Dresden, Hofoper, 9 December 1905.

After the mildly scandalous success of his second opera, Feuersnot, Strauss needed a new subject. Wolzogen, his collaborator on Feuersnot, worked hopefully at another raffish one-act comedy, drawn this time from Cervantes, but Strauss did nothing with it. Then a young Viennese poet sent him Wilde’s Salomé, proposing to adapt a libretto from it; the composer was cautiously interested (he imagined it, incredibly, as a possible pendant to Feuersnot). Though Wilde’s French original had been a failure in Paris, and in England the play was banned by the Lord Chamberlain, a German version had been well received in Breslau in 1901. Using a new translation, Max Reinhardt staged the play in Berlin the following year with spectacular success. Strauss saw it early in 1903 and swiftly decided to set this Lachmann version of the text as it stood, except for judicious trimming (mostly of subordinate clauses, though also of some marginal dialogue and one or two small roles). He began in earnest as he put the last touches to his ...

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