SEATTLE OPERA - SALOME - October 17 with additional dates through October 31, 2026 Opening Night Review!
SALOME
Seattle Opera
Music by Richard Strauss
Libretto by Richard Strauss after a translation by Hedwig Lachmann of Oscar Wilde’s play
McCaw Hall
Seattle, WA
October 17, 2026 7:30pm
(This review was written by a credentialed media member who is an actual human being. No Artificial Intelligence programs were used in any part of its creation.)
Seattle Opera
Music by Richard Strauss
Libretto by Richard Strauss after a translation by Hedwig Lachmann of Oscar Wilde’s play
McCaw Hall
Seattle, WA
October 17, 2026 7:30pm
(Brenda Rae (Salome) in "Salome" at Seattle Opera. Photo: David Jaewon Oh.)
The 2026/2027 season of the Seattle Opera opened this past weekend with Salome. The perfect opera for October and all of the spookiness that is associated with it.
While there is something to be said for a multi hour, lengthy opera, there is also something to be said for an opera that is self-contained in one shot as it were. No intermission just jumping right into the story and all the drama that ensues. Salome is just such an opera.
There is scandal, jealousy, outrage, desire, and ultimately death without giving too much away. Salome packed a punch right from the get go and never really let up. It had a very different tone to it that I enjoyed and the performances to match.
Brenda Rae as Salome was the star of the show and deservedly so. She captured all of the emotions of the character and sang as though her character actually meant what she demanded. “The Dance of the Seven Veils” stood out as a longing piece of expressionism through the eyes of a sensual yet manic character in Salome. This was a highlight for this reviewer.
Chad Shelton as Herod and Jennifer Johnson Cano as Herodias were equally splendid in their vocal prowess as well as their character acting abilities.
The staging was full of interesting choices. As the initial center set piece hung from the rafters over the stage, it was needed for rain water in later sequences. What I had hoped it would also be used for was a shower of stage blood but that’s probably my love of horror getting the best of my imagination.
For the squeamish there was a severed head prop and there was stage blood used on Salome’s white dress for dramatic effect. But, it wasn’t anything over the top in my opinion.
There were moments of levity mainly from the absurdness of the story at times. When everything came together, it was a strong and fully entertaining opera, especially for those who love a dark slant to their storylines.
Salome delivered and then some. It’s the perfect solution to the question of what to do for spooky season for the new and the veteran opera patrons alike.
Hold on to your heads. It’s going to be a bumpy ride.
Recommended!
“Salome” runs through October 31st (check the official site for specific dates). Tickets are available: HERE!
Best,
Mark Sugiyama
Eclectic Arts Media
Connect with Eclectic Arts Media: Social Media and Email Links
While there is something to be said for a multi hour, lengthy opera, there is also something to be said for an opera that is self-contained in one shot as it were. No intermission just jumping right into the story and all the drama that ensues. Salome is just such an opera.
There is scandal, jealousy, outrage, desire, and ultimately death without giving too much away. Salome packed a punch right from the get go and never really let up. It had a very different tone to it that I enjoyed and the performances to match.
Brenda Rae as Salome was the star of the show and deservedly so. She captured all of the emotions of the character and sang as though her character actually meant what she demanded. “The Dance of the Seven Veils” stood out as a longing piece of expressionism through the eyes of a sensual yet manic character in Salome. This was a highlight for this reviewer.
Chad Shelton as Herod and Jennifer Johnson Cano as Herodias were equally splendid in their vocal prowess as well as their character acting abilities.
The staging was full of interesting choices. As the initial center set piece hung from the rafters over the stage, it was needed for rain water in later sequences. What I had hoped it would also be used for was a shower of stage blood but that’s probably my love of horror getting the best of my imagination.
For the squeamish there was a severed head prop and there was stage blood used on Salome’s white dress for dramatic effect. But, it wasn’t anything over the top in my opinion.
There were moments of levity mainly from the absurdness of the story at times. When everything came together, it was a strong and fully entertaining opera, especially for those who love a dark slant to their storylines.
Salome delivered and then some. It’s the perfect solution to the question of what to do for spooky season for the new and the veteran opera patrons alike.
Hold on to your heads. It’s going to be a bumpy ride.
Recommended!
“Salome” runs through October 31st (check the official site for specific dates). Tickets are available: HERE!
Best,
Mark Sugiyama
Eclectic Arts Media
Connect with Eclectic Arts Media: Social Media and Email Links
(Chad Shelton (Herod) in "Salome" at Seattle Opera. Photo: David Jaewon Oh.)
(Jennifer Johnson Cano (Herodias) in "Salome" at Seattle Opera. Photo: Sunny Martini.)
(Left to right:Scott Conner (First Nazarene/First Soldier) and Brenda Rae (Salome) in "Salome" at Seattle Opera. Photo: David Jaewon Oh.)
(Brenda Rae (Salome) in "Salome" at Seattle Opera. Photo: Sunny Martini.)
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