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– Presents –
YOUR
GUIDE TO
Salome
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Contents
Special thanks to our education community partners:
Message from Director | 3
Characters | 5
Synopsis | 6
The Story Behind the Story | 7
Leitmotifs | 7
Not Your Average Leading Lady | 7
Composer | 8
Libretto | 9
The Playwright | 9
Original Source | 10
Glossary | 11
Activity 1: Reader’s Theatre | 12
Activity 2: Facebook Character Development | 12
Activity 3: Poster Creation | 13
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Richard Strauss
(1864–1949)
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Be sure to check out our Educator's Guide, Your Guide to Opera, available for
free download online. It is designed to supplement this guide and offers an
overview of the history of opera, activities for your class, and useful information
about attending our dress rehearsals.
2
In this way I see Salome not as the classic femme fatale, but as a victim. She longs for
a kind of love that she has never received, and maybe cannot truly understand. She is
clearly manipulated by her mother and sexually objectified by her stepfather. She has
been raised with enormous material wealth, but with a complete absence of any kind
of emotional nurturing, a loveless upbringing in a dysfunctional family.
Director’s
Message
Waut Koeken
The drama of Salome unfolds against the backdrop of King Herod’s luxurious golden
palace. However, the brilliant palatial world in which the young princess grows up is
a golden prison; despite all its splendor, it is a darker, more claustrophobic and more
terrifyingly lonely place than the cistern in which the prophet is imprisoned.
T
he approach to this production of Salome was in very much the same way as
Richard Strauss when he adapted his libretto from Oscar’s Wilde’s startling
play. Wilde’s original text is haunting, evocative, poetic and intoxicating, and
Strauss meticulously distilled the text into its bare emotional essence. The result is
a concentrated and psychologically gripping tale of profound longing and profound
moral failure — the failure of society, Salome and even John the Baptist, whose
rigid religious dogma does not recognize Salome’s sincere capacity to love.
Rather than a concrete depiction of a sumptuous biblical palace, we have tried to create
a visual world that evokes poetically the universe of Salome’s tragedy and focuses on
the inner essence of the lyrical drama. The immense sensory poetry of the text and
the score are so powerful that one needs to create a theatrical space in which this
music can sculpt Salome’s world. Beyond the distractions and clichés of the exotic
and decorative orientalism often associated with the subject, we wanted to create a
set that is atmospherically charged, evoking powerful associations, and can change
and transform to the moods and colours of the music and the heroine’s mental states.
The unequaled richness of the opera’s orchestration conveys the disturbed psychology
of the characters, and the biblical setting is a vehicle for Strauss’ desire to tell the
story at its most universal level. Strauss’ orchestration reveals a psychological space; it
translates the outward scenic action into extremely powerful, subjective impressions of
emotional and psychological states. The composer leads his audience into the dark and
complex world of Salome’s psyche. In this way, we are inspired to strip the story of its
historical trappings, to find a version which can speak to today’s audience.
The space is continually changing by subtle use of lighting, closely following the
movements of the music. In this realm, nothing is what it seems. Characters can enter
and exit through the “walls,” like phantoms in a grotesque nightmare, and yet there is
no escape. At the centre of the space, there is a sumptuously set banquet table, evoking
all the luxury and gluttony of an overwhelmingly rich but rotten society. The king,
queen and their subjects dine, dance and party, receive guests and engage in politics —
as if this society is trapped in an eternal party. But as the powerful voice of the prophet
resonates, all are paralyzed. The set is transformed for the first (and most radical) time,
leaving the empty table as an immense stage upon which the rest of the tragedy is to be
played out.
The world of Salome is a world of moral decay. The failure and downfall of the
characters comes from living in a material world of wealth and privilege but one
devoid of love, understanding and human compassion. Salome is often read as a dark
and provocative piece about the dangerous abysses of unbound erotic desire, with its
heroine mostly seen as a prototype of the femme fatale. A closer reading of Strauss’
score, however, reveals a very different picture. From the opening of the work, one
hears in the orchestral texture the incessant resounding of Salome’s love theme.
Strauss’ music makes it clear to me that his lyrical drama is a drama of love.
In a later letter, Strauss stressed that Salome’s behaviour should not just be
met with horror and dismay, but also with pity.
At the heart of the tragedy is the relationship between Salome and Jokanaan. It is
the story of a utopian, impossible and misunderstood love; catastrophe is unavoidable.
She is fascinated by the words coming from Jokanaan’s mouth, as he speaks of love
and redemption. But because of Salome’s corrupted upbringing, both protagonists fail
to recognize the opportunity their meeting offers them. Salome confuses her love for
him as lust because she knows no difference. Jokanaan is both attracted and repelled
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by Salome’s sensuality, and responds by rejecting her. He is unable to give her the love
she craves; he even fails in the moral code that he preaches. However, without love we
cannot become full human beings, and this propels the action of the opera to bring the
downfall of these two flawed characters.
The Dance of the Seven Veils is the focal point for any director approaching the work.
At the heart of his opera, Strauss inserts 11 minutes of symphonic poetry of enormous
musical power. It is an incredibly subtle and accurate psychological portrait of his
main character. After the exciting and intensely sensual opening bars that seemingly
announce an erotic dance, we leave the realm of realistic outward action to focus
exclusively on Salome’s inner drama. I have decided to conceive this part of the opera as
seven phases in Salome’s life, with extras and dancers representing her at seven different
times. The unveiling is not literal but psychological, with each veil representing a
younger woman at an earlier time in Salome’s life. Rather than performing some sort
of banal strip-tease with seven veils, Salome “unveils” her broken self in seven stages.
Outwardly, she fulfils her stepfather’s wishes to be entertained, but she metaphorically
unleashes the full power of her history.
In the final, heartrending scene of Salome’s monologue, the silvery chains
surrounding her lonely imprisonment are now like a thousand iridescent
tears raining down on the stage.
As a historic subject and fin de siècle art document, Salome links two comparable
historical phases with a third epoch: that of our own. Today, ethical, moral religious
and social notions are also exposed to decay and disintegration of their essential values.
The central questions raised in the text and expressed through the music are very much
the same today as they were in Strauss’ turn-of-the-century world or in the world of
over 2,000 years ago.
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Salome
Characters
Education Dress Rehearsal
Oct. 24 @ 7:00pm
Salome – Herod’s stepdaughter (soprano)
Jokanaan – Prophet John the Baptist (baritone)
Jubilee Auditorium
Herod – King of Judea and Perea (tenor)
Herodias – Herod’s wife, Salome’s mother (mezzo-soprano)
Narraboth – Captain of the Guard (tenor)
Page of Herodias
Salome
Opera 101
First Jew
Second Jew
Third Jew
Fourth Jew
October 10 @ 7:00pm
Fifth Jew
Art Gallery of Alberta
Ledcor Theatre
First Nazarene
Second Nazarene
First Soldier
Second Soldier
Cappadocian
Join us for a thought provoking discussion
surrounding Salome. With special guests
from academia and our upcoming production.
Admission is complimentary, but please
RSVP at [email protected]
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Synopsis
Jokanaan returns to the cistern telling Salome to seek the only One who can save
her. Salome, uncomprehending and overwhelmed by his mystique, begs to kiss him.
Jokanaan curses her and disappears back inside his cell.
Written by Stephan Bonfield
King Herod, Herodias and their guests have finished the banquet and now move
to the terrace. When Herod enters, he slips on Narraboth's blood and falls into a
recurrent hallucination of powerful winds and beating wings. Lustfully, he approaches
his stepdaughter Salome, despite Herodias’ repeated remonstrations to stop looking
upon her. Salome turns him away. Jokanaan begins prophesying again from the cistern,
and Herodias asks Herod to keep him quiet, urging her husband to hand him over to
the Jews. Herod protests that Jokanaan is a holy man who has seen God. The Jews
and rabbis denounce Jokanaan and demand he be handed over to them, arguing over
the nature of prophecy and differing doctrines concerning God’s various powers of
revelation. Jokanaan interrupts their noisy squabble with another prophecy about Jesus,
corroborated by two men who tell of His miracles, including raising the dead. Herod
exclaims he will prohibit the raising of the dead, but Jokanaan continues his preaching
from below, turning his ire on Herodias, who is outraged.
Judea: 30 a.d.
T
he captain of the guards, Narraboth, is deeply in love with Salome, princess of the
kingdom. From afar, he watches her on a terrace while she dines with her mother
Herodias, her stepfather King Herod and the entire court at a banquet.
Jokanaan ( John the Baptist) can be heard from the cistern below where he is
imprisoned, calling out his lyrical prophecies. Meanwhile Salome flees Herod’s leering
and the tedious arguments of priests quibbling over sectarian differences. While taking
in the fresh air, she hears one of Jokanaan’s prophecies. Salome remarks she has heard
Jokanaan curse her mother, Herodias, for taking to Herod’s bed, and inquires further
about the nature of Jokanaan’s other prophecies. Salome refuses Herod’s order to return
to the banquet, and when she hears another prophecy, she asks to speak to Jokanaan.
She is told that Herod forbids anyone, even the High Priest, to speak to Jokanaan.
Unnerved and seeking distraction, Herod begs Salome to dance for him, swearing an
oath he will grant her any wish however extravagant if she does so, over her mother’s
strenuous objections. Salome begins the seductive Dance of the Seven Veils. In
this production, each veil represents a phase in Salome’s life, making the unveiling
psychological and not literal as in other productions.
Defiantly, Salome orders the guards to bring Jokanaan to her. When they refuse,
Salome charms Narraboth into releasing Jokanaan. The captain’s men follow his orders
and bring the prisoner to her. Jokanaan emerges from the cistern and majestically
condemns Herod and Herodias. All are unable to understand Jokanaan’s words
except Salome, who is clearly enamored by his strange and ghastly appearance. When
Salome introduces herself, Jokanaan condemns her as unclean. Salome appears to
misunderstand the severity of his words, somehow mistaking his voice as music to
her ears. When she asks him what she must do, Jokanaan prophesies the salvation
of humanity, through the Son of Man, but his words are apparently meaningless to
Salome.
After her dance, Herod happily offers to grant Salome her wish. She asks for the head
of Jokanaan on a silver platter. Despite her mother’s approval, Herod is shocked and
desperately entreats Salome to consider accepting a seemingly endless list of valuables
instead, but is rebuffed at every turn. Insistent, Salome vehemently holds Herod to
his oath, and he angrily relents to Jokanaan’s execution. When the executioner returns
with the prophet’s head, Salome grabs it and proclaims that now she will kiss Jokanaan
at last, without refusal. Half-sunken into madness and erotic delirium, Salome sings
hysterically of Jokanaan’s beauty, then proceeds to kiss the lips of his severed head.
Repulsed, Herod orders the death of Salome.
She asks to touch his skin and hair, but Jokanaan rejects her. Unperturbed, Salome
becomes increasingly ecstatic with each repudiation and, overwhelmed by the sight
of Jokanaan’s mouth, she asks to kiss him. Meanwhile, a shocked Narraboth cannot
restrain Salome from her deranged passion for Jokanaan. Unable to withstand his
insurmountable grief at Salome’s obsessive behaviour, Narraboth stabs himself.
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The Story
Behind the Story
Leitmotifs
T
L
he story of Salome originates from the Bible, and was the subject of intrigue and
interpretation by many artists. In the biblical story, Salome dances before her
stepfather Herod and his guests, and in return is promised a reward of her choice. By
her mother’s suggestion, Salome requests the head of John the Baptist. Poets, painters,
and other artists extend the biblical tale to contemplate explanations and explore her
significance in the portrayal of female sexuality. Examples can be found in works by
French Symbolist painter Gustave Moreau who often depicts the Judean princess as a
femme fatale.
eitmotif originates from the German word Leitmotiv, meaning “leading motif ”.
It refers to a short, repeated musical phrase that represents a character, place or
idea. This musical phrase can be a distinct melody, harmony or rhythm that helps the
composer tell a story using symbolic meaning. The use of leitmotif can be found in
classical music as early as the late 18th century, and composer Richard Wagner is well
known for using this technique during the 19th century. Richard Strauss often uses the
device in his work, and the music of Salome is no exception. Using a complex system
of leitmotifs, Strauss depicts themes and characters throughout the opera.
It was these paintings by Moreau and other literary works about Herodias that caught
Oscar Wilde’s interest while studying at the University of Oxford in 1877. Wilde wrote
the original play Salomé in French for debut on the London stage in 1892, but British
law of the time forbade the portrayal of Biblical characters on stage. (This would be the
case for nearly 40 years, until the work was publicly performed in England in 1931.)
Salomé premiered in Paris at the Comédie-Parisienne on February 11, 1896 to great
acclaim, all whilst Wilde was in prison.
Not Your Average
Leading Lady!
Wilde’s play in turn inspired other works, notably Strauss’ opera Salome. In 1902
Strauss witnessed the play performed in Berlin, which had been translated into
German by Hedwig Lachmann. Less than a year later, Strauss began composing
and Salome premiered in Dresden, Germany on December 9, 1905. At its debut
performance, some of its artists were hesitant to perform the controversial material.
Marie Wittich, playing the demanding role of Salome at the premiere, refused to
perform the Dance of the Seven Veils and thus requiring a dancer to fill in. It took
several years for other houses to present the opera; in Vienna it was prohibited until
1918, and in New York the production run was cancelled after just one performance!
Today the opera has become a core piece in the operatic repertoire, ranked the 31st most
performed opera in the world according to Opera Base.
S
trauss’ piece demands the true power and stamina of a dramatic soprano, much like
the roles of Isolde or Brünnhilde in Wagnerian opera! The lead role is a challenge
to cast as the singer must have the necessary volume and vocal range, but also be
believable as a young lady. The Dance of the Seven Veils also adds another complexity
to the role, as Salome is required to dance during this famous scene.
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on Oscar Wilde’s French play Salomé, which had been given its première in a German
translation by Hedwig Lachmann the year before. Strauss disliked Lindner’s poetry,
but nevertheless saw the play later that year and immediately recognized its potential
for good musical-dramatic subject matter. After the play, when he ran into a friend
who cracked “that would make a good opera,” Strauss deadpanned, “I am already
composing it.” The result three years later was a one-act Musikdrama with a libretto
by the composer which consisted of a substantially-reduced version of the German
translation. Strauss’ third opera had its première on December 9th, 1905 in the
Hoftheater in Dresden.
Composer
Richard Strauss
(1864–1949)
The opera contained important differences from the original play. In Wilde’s
version, Herod kills his brother so he can bed his brother’s wife Herodias, one
of many lurid facts dropped from the final libretto. But Strauss preserved and
explored the subjects of love and loss, erotic desire and neurosis, and in particular,
madness and delirium, which were completely contemporaneous with the times,
coinciding with the publication of Freud’s Three Essays on Sexuality and the
psychoanalytic age of repression theory in general. Portraying a leading character’s
near-complete psychological dissolution, whereby her inner and outer realities
no longer conformed to any coherent sense of reality at all, was daring, risky,
and new — something that moved beyond historically well-known mad scenes
such as Donizetti's Lucia di Lamermoor and Ophelia’s death dénouement in
Thomas’ Hamlet.
Written by Stephan Bonfield
R
ichard Strauss seemed to be born to instigate
revolution in music. As a young man, he never was
satisfied with music’s role as conservateur of established styles and conventions,
though he would willingly return to them later, but only after he had shaken the
foundations of Europe’s musical establishment.
Strauss learned early on in his career to abandon classical forms and to attempt bold,
innovative ideas in the tone poem, following in the footsteps of the great Romantic
master Franz Liszt. After a successful first attempt at the genre with Aus Italien (1886),
he conducted Don Juan in 1889, at Weimar. It was a total triumph. He was hailed
as Wagner’s heir and called ‘Richard the Second’. “Surely not” he retorted. “Call me
Richard iii, for no one could succeed Wagner.” His new and wholly original writing
style pushed the limits of Wagnerian harmony, and especially orchestration, to the
breaking point. He quickly became known as the bad boy of music, particularly after
his madly chaotic but very popular opera-turned-tone poem Till Eulenspiegel in 1895.
But Strauss had other plans.
When rehearsals began for the opera’s Dresden première, nearly all the singers
handed in their scores, calling the work unsingable, except Czech tenor Karel
Burian who would début Herod, claiming he had the role memorized. The cast
returned to work, a little chagrined to be professionally shown up. The orchestra
nearly quit too, claiming the work to be unplayable. Scandal after scandal dogged
the opera wherever it was performed. Salome was banned in Vienna, and eviscerated
by the New York critics when it premièred at the Met, never to be heard again until
1934. It strained relations with Wagner’s widow Cosima, and caused consternation
from the Kaiser to Thomas Mann, and, it seemed, with every critic in between.
In spite of the fallout over such an apparently scandalous opera, Strauss remained
unperturbed by all the attention he was getting. He was now the most well-known
composer of opera in his day. When the Kaiser intoned that Salome would likely
damage Strauss, he later remarked in his memoirs that the “damage enabled me to
build my villa in Garmisch.” Salome made Strauss wealthy and famous, and part of
the Second Reich elite. From there, he would go on to revolutionize opera further
still with his next brilliant composition, Elektra.
In 1894 he launched his operatic compositional career with the poorly received
fiasco Guntram. Strauss recovered, but sought something new that could likewise
break open opera to his resplendent and glitteringly daring musical language. After
a dubious première of his second opera Feuersnot, Strauss was approached in 1902
by the Austrian poet Anton Lindner with an offer to collaborate on a libretto based
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Libretto
After graduating Wilde moved to London and focused on writing poetry. In 1881
his first collection Poems was published to modest reviews. The following year
Wilde spent touring the United States, giving lectures on aestheticism in various
cities. Following this tour, Wilde returned home and lectured throughout England
and Ireland until 1884. Throughout this time, Wilde developed as a key promoter
of the aesthetic movement.
G
erman poet, author, and translator Hedwig Lachmann was born in Stolp,
Pomerania August 21, 1865. After attending high school she passed the
language teaching examination at the young age of fifteen. She then worked as
governess throughout Europe while also working on translation. Her translations
of poems by Edgar Allan Poe were published in 1891 and that of Oscar Wilde’s
Salomé in 1903. The German translation of Salomé was performed at the Schall
and Rauch Theatre to popular acclaim and later this libretto was adapted by
Strauss for the opera.
In 1884, Wilde married Constance Lloyd, a wealthy Englishwoman. They had
two sons, Cyril and Vyvyan. From 1888, Wilde produced many of his most famous
works including the novel The Picture of Dorian Gray (1891), and the plays A Woman of
No Importance (1893), The Importance of Being Earnest (1895), and Salomé (1896).
In one night Wilde wrote his version of Salomé in Paris after discussing his vision for
the tale with fellow writers. With the piece complete he hoped to have it produced
in London with renowned actress Sarah Bernhardt as the leading role of Salomé.
However, state censorship at the time banned the portrayal of Biblical characters on
stage. A few years later, in 1896 Salomé premiered in Paris to great acclaim. Sadly
during is premiere, Wilde was serving time in prison due to his relationship with
Lord Alfred Douglas. The father of Douglas, the Marquess of Queensberry, charged
Wilde for homosexual acts, which at the time was forbidden by British law. He spent
two years of hard labour in prison, which deeply affected his health and career. After
Wilde was released, he departed for France where he was poor and wrote his last piece
The Ballad of Reading Gaol (1898). He had a brief reunion with Lord Alfred Douglas,
but after a few months separated. In late 1900 Wilde developed meningitis and died
November 30, 1900 at the age of 46.
The Playwright
Oscar Wilde (1854–1900)
O
scar Fingal O’Flahertie Wills Wilde was born in Dublin, Ireland October
16th, 1854 to Jane and William Wilde. His father was an acclaimed doctor
in Dublin, and his mother a skilled writer. He was one of three children and lived
quite a privileged life. At home he studied French and German under the family
governesses, and later attended boarding school. Wilde began his studies at Trinity
College in Dublin from 1871 to 1874, where he pursued Greek and Roman studies and
was an outstanding student. When he graduated he received further scholarships to
continue his studies at the prestigious Magdalen Colllege of the University of Oxford,
England. During his time at Magdalen College he began more serious attempts at
writing, and received an award for his poem Ravenna. He graduated in 1878 with a
“double first” in Classical Moderations and Literary Greats. (“Double first” is British
classification meaning he had first-class honours in these two subjects in the same set
of examinations during his undergraduate.)
9
Original Source
Bible, New Testament
T
he Daughter of Herodias and Herod ii, Salome, is recognized from the biblical
writings of the New Testament. Her character is depicted as a symbol of female
sexuality and seduction that led to the beheading of John the Baptist in the first
century ad. Her mother Herodias was originally married to Herod the Great’s son
Herod ii, but divorced him to marry his half-brother Herod Antipas. At the time of
meeting Herodias, Herod Antipas was also married (to the daughter of King Aretas
iv of Nabatea) and soon divorced in order to marry Herodias. This marriage to his
brother’s former wife, who was also his niece, was publicly condemned by John the
Baptist. As a result, he had John the Baptist imprisoned. It is written that Salome
dances for her stepfather Herod and his guests, and in return is given anything she
asks for. Her mother insists that Salome demand the head of John the Baptist,
and he is executed.
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Glossary
Aestheticism: an art movement emphasizing the values
of art, beauty and taste
Arias: Meaning “air” in Italian. Arias are solos that
accompany the orchestra, which allow a character
to express their feelings and demonstrate their
vocal talents.
Femme fatale: French phrase meaning ‘fatal woman’.
Describes a woman who seduces and lures someone
into precarious or deadly situations
Governess: a woman employed in a household to teach
children
Librettist: Chooses a story, writes or adapts the words.
Baritone: A type of male voice that is lower than
the tenor, but higher than the bass. Usually played
by father figures or middle-aged children.
Bass: A type of male voice that is the lowest pitched.
It is often played by wise and older characters.
Mezzo Soprano: a type of female voice that is lower than
the soprano and higher than the contralto.
Often played by the character of the young boy,
a complex or evil character.
Playwright: Someone who writes plays.
Cappadocia: a historical region located in Central
Anatolia, Turkey
Prophecies: messages of events to come communicated
from the divine to a prophet
Cistern: a vessel for holding water
Composer: Writes the music.
Contralto: A type of female voice that is the lowest
pitched. Their voice is deep and well-rounded.
Usually played by the maid, mother or grandmother.
Ensemble: A musical number sung by two or more
people of different ranges. For example, duets, trios,
quartets, quintets and sextets.
Soprano: Highest pitched female voice. Usually the
female lead singer is written as this type of voice.
There are 3 types: coloratura, dramatic, and lyric.
Tenor: A type of male voice that is the highest pitched.
It is often the leading role and they typically fall in love
with Sopranos.
Tetrarch: The ruler of one quarter of a region
11
See you at
Salome!
Activity 1
Activity 2
Reader’s Theatre
Facebook Character Development
Curriculum Connections
Curriculum Connections
Drama Grades 4–9 Develop role-playing skills and specific storytelling skills
Grades 10–12 Develop the ability to play a character from the character’s
point of view
ELA Grades 4–9 4.3 Present and Share
Grades 10–12 5.2 Work within a group
ELA Grade 4–6
2.2 Respond to Texts
Grade 7–9
1.2 Clarify and Extend
Grade 10–12 2.1.2 Understand and Interpret Content
Activity
Students will explore and develop different characters in Salome by creating a Facebook
profile. Discuss the characters as a class, talking about their importance and roles.
Group students into small groups and assign one of the following characters:
Salome, Herod, Herodias, Jokanaan, and Naraboth .
Student Objectives
Students will demonstrate their understanding of the plot through performing
a Reader’s Theatre of Salome. Allow students to read the Salome synopsis.
As a class discuss the plot, characters, dilemmas, and resolution in the opera.
Encourage students to develop a profile for their assigned character including:
interests, education, work, philosophy, arts, sports, likes, and other activities.
Activity
Divide the class into small groups and assign each group a part of the synopsis.
Within each group designate characters and one narrator. Allow students time to
practice their scene. Students will need to create their character's dialogue based on
the assigned synopsis. After they have prepared, the narrator for the group will read
their section as the other students act out the story. Groups will perform their part
following the sequential order of Salome. If you have props or costumes
incorporate them too!
Write three status updates that your character would write based on the storyline
and events in Salome.
Allow students to share their character insight amongst small groups followed
by a classroom discussion.
Questions for Discussion
What groups is your character involved in? What types of friends do
they have?
What types of goals does your character have? Do they face any obstacles
in achieving these goals?
Were you able to relate to your character? Can you understand why your character
made the decisions that they did?
Richard Stauss’ Salome first premiered in Dresden, Germany in 1905; do you think the
characters are still relevant today? Is the opera still controversial?
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Activity 3
Poster Creation
Curriculum Connections
Art Grades 5-6 Component 7: Composition, Component 10: Expression
Grades 7-9 Drawing and Composition
Grades 10-12 Drawing and Composition
Activity
When creating a poster for an opera there are many things to consider. It is important
to keep in mind the Director’s vision for the production and allow ample time for
research through different resources such as online, literature, listening to the music,
and watching other productions.
When creating an image to represent an opera you must consider the time period,
setting, themes, characters, and plot. Our designer must also keep in mind our audience
that we are trying to appeal to and what types of media we will use to reach them.
After researching, it is important to sketch and brainstorm your ideas. It can be helpful
to make a collage or mood board of different visuals and ideas that you would like
to incorporate into the final image. Other important factors include the hierarchy
of information (what is the most important information and how will you show that
importance – size of type, colour, location, etc), typography, colour (contrast, significance of colour), composition (placement, size and shape), and form among others.
How would you illustrate Salome? Is your image a literal or symbolic portrayal? Using
the Synopsis, Message from the Director, and The Story Behind the Story create a
poster using what you feel represents Salome the strongest.
Edmonton Opera loves hearing from students! Send student posters
to [email protected] and they may be posted on our website!
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