Richard Bratby

More depravity, please: Salome, at the Royal Opera House, reviewed

Plus: at the South Bank an underrated conductor revived an almost forgotten score with quite irresistible affection and flair

Malin Byström's Salome is appallingly watchable. Image: © Tristram Kenton 
issue 24 September 2022

The first night of the new season at Covent Garden was cancelled when the solemn news came through. The second opened with a short, respectful speech from Oliver Mears, the director of opera, and a minute’s silence in which the houselights were lowered and we could gaze at the curtains, from which the huge gold-embroidered EIIR cypher had already been removed.

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