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Feb 6, 2015 · Marie Wittich, who acted in the lead role at its debut, refused to perform the infamous “Dance of the Seven Veils” — in which Salome dances seductively before Herod Antipas — famously telling the composer, “I won’t do it; I’m a decent woman.”
The last part to be written was the Dance of the Seven Veils, often decried as the weakest feature of the opera, but more justly defined as a brilliantly effective, self-contained tone poem, its music wheedling, kittenish, teasing, and ultimately demoniacal, as Strauss lashes the waltz rhythm into a frenzy.
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This study focuses on three variations on Salome's notorious Dance of the Seven Veils, performed by Loie Fuller (1907), Ida Rubinstein (1909) and Maud Allan (from 1906) on music by Florent Schmitt, Nikolay Rimsky-Korsakov and Richard Strauss respectively.
- Davinia Caddy
- 2005
From Herod’s lubricious injunction to the young woman stems one of the most emblematic orchestral passages in opera: the dance of the seven veils. A hypnotic interlude in itself sufficient to capture the fatal mounting desire that suffuses this work whose orchestration is as rich as it is modern.
She dances the “Dance of the Seven Veils” for her lust-filled stepfather Herod when he promises to give her anything she wants in return. This is how she gets John the Baptist’s head on a platter.
The Dance of the Seven Veils. Salome and Erotic Culture around 1900 The Dance of the Seven Veils is the center piece of the play by Oscar Wilde and the opera by Richard Strauss as well as a large number of literary works, paintings and dances and has its own attraction as it unveils the female body for imaginative and creative purposes.
