![]() Wilde was known as a critic but not as a playwright when he began work on his Biblical reworking in 1891. This is in no small part due to Wilde’s unorthodox authorship and censors barring early productions across Europe. Today, “Salome” – the tale of the Judean princess, stepdaughter of Herod, who becomes enamored of John the Baptist and demands his head – is far better known in its opera form than in its original play format. And in the case of Oscar Wilde, Richard Strauss, and a section of the New Testament, these words, characters, and plot are virtually unchanged. In this and some following explorations, the transposition is more of a lateral move – from the theatres of Europe to their operatic stages. Over the past few weeks, this column has looked at novels, novellas, and poems that have been transformed for the operatic medium. This week, we look at a theatrical work adapted for opera: Oscar Wilde’s often-banned “ Salome” and Richard Strauss’ no-less-controversial operatic reworking. “Page to Opera Stage” looks at stories – real-life or fiction, old and new – that have inspired operas, and the ways these narratives have been edited and dramatized to fit a new medium. ![]()
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