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- W2502016427 abstract "In Peter Hall’s production of Richard Strauss’s Salome, as the princess (Maria Ewing) removed the last of her seven veils, she stood for a moment, facing the audience, entirely naked. Salome offers the sight of her body, eroticized by dance, as payment for satisfying her desire for another body, eroticized (for her) by holy abstinence. Peter Hall took equal care with the presentation of that body, choosing a singer (Michael Devlin) who could appear precisely to match the terms in which Salome describes the birth of desire, as the drama presents it: ‘Wie abgezehrt er ist! Er ist wie ein Bildnis aus Elfenbein’ [How emaciated he is! He is like an ivory statue].1 Rarely in opera is the body so eroticized, and rarely can singers so present that erotic subject with such realism.2" @default.
- W2502016427 created "2016-08-23" @default.
- W2502016427 creator A5082486567 @default.
- W2502016427 date "2009-01-01" @default.
- W2502016427 modified "2023-09-25" @default.
- W2502016427 title "The Erotic and the Sacred Body in Opera: The Venusberg to Monsalvat — and Beyond" @default.
- W2502016427 cites W2336290497 @default.
- W2502016427 doi "https://doi.org/10.1057/9780230234000_16" @default.
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