Grey for the eyes, gold for the ears

From: The Independent (London, England) | Date: March 19, 1995| Author: | Copyright information

MASOCHISM, incest, necrophilia, a young woman kissing the severed head of a good man: no wonder the "moral stench" of Richard Strauss's Salome shocked audiences at the opera's first appearances in the early 1900s, forcing the sensor to step in. Our modern consciousness of the work's history - its position in a sequence of Salomes from the Bible, through the paintings of Gustave Moreau, to Flaubert's "Herodias" and Wilde's play - allows us to think of the work as "decadent" rather than immoral. But it's never going to be nice.

Our foreknowledge of that gory kiss at the end gives little ...

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