“Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera. […] Hers is a Salome to end all Salomes. […] In total, it is stunning...” Financial Times Richard Strauss’s opera at the Salzburg Festival, sensationally staged by Romeo Castellucci, was nothing short of “the miracle of Salzburg […] You have never experienced the Salome like this!” Süddeutsche Zeitung Debuting in the title role, Asmik Grigorian propelled herself to international soprano stardom, stunning critics and audience alike with her endlessly powerful voice and mesmerizing acting abilities. To witness Franz Welser-Möst at the helm of the Wiener Philharmoniker “makes you think you are hearing the piece in its most perfect incarnation yet” Financial Times). By closing up the famous arcades of the Felsenreitschule, shaped out of the rock of the Mönchsberg, the award-winning Italian director set the stage for his visually compelling take on Salome. Strauss’s work, created in 1903 when the composer set an abridged German translation of Oscar Wilde’s bible-based play Salomé to music, caused a scandal when premiered in Dresden in 1905 and was even banned from the stages of London, Vienna and New York. Due to her infatuation with the imprisoned prophet Jochanaan, the figure of the princess Salome had become the epitome of perverted lust. In Salzburg, Asmik Grigorian touchingly and sensually traced the inner conflict and emotional distress of Salome. Her exuberant talent accomplishes the impossible, that is to outshine an ensemble that “may be regarded as perfect, even by the standards of the Salzburg Festival” (Spiegel Online). Julian Prégardien sent Narraboth to his doom with a beautifully clear voice, while Gábor Bretz shone as Jochanaan. Anna Maria Chiuri gave an outstanding festival debut as Herodias and at her side, John Daszak enthralled as Herodes. Amidst the orchestral power and brass thunderstorms, Franz Welser-Möst and the Wiener Philharmoniker celebrated the sparkling details of Strauss’s score. “A breathtakingly dense, musically epoch-making […] Salome, which brought the house down!” Neue Zürcher Zeitung