Salomé is the third and last episode of the trilogy Opera Serie: musical performances created from freely re-adapted, celebrated opera libretto texts (Orpheus-Othello-Salomé). For each of the three episodes the musical composition is completely original. The performance is thought out for a performer and a musician. (In Salomé's case: a singer and her pianist.) With the singer Evelinn Trouble playing Salomé, this episode focuses on the character's madness. As established in the beginning of the research for all three episodes, there is a desire to avoid a standard frontal relationship with the public (public sitting on risers, and actors on stage.) The esthetic choice is close to that of German expressionism in the twenties, and we are brought inside an old cabaret (or what remains of one.)
The formal structure of the piece is a flashback in time, everything has already happened: Salome's repugnance for King Herod, her meeting with Iokanaan, the dance of the seven veils, the murder of the prophet, and the madness of Salomé kissing the decapitated head. Salomé comes on stage, covered in blood, telling us her memories. As the piece will be mainly musical, and as is the case at the opera, it is not easy to follow or understand the sung text. So this flashback serves as a résumé of the story in a sort of spoken/sung delirium, and allow us to avoid super-titles and text handouts at the entry. From here on the public can relax and enjoy the emotional aspect of the song and music.