Deborah Voight is an amazing singing actress and is fascinating to watch in this role. Her teenage years are far behind her but as the Post mentioned in its review, she definitely conveyed the willfulness and petulance of a teenager. This production was very well cast overall. But what was that shower curtain doing on stage? Oh, it was part of the set. Really? My half price ticket put me in the stratosphere in the second balcony. If I had paid the full freight of $80, I would have been very annoyed at the seat location and the meagreness of the physical production of this opera. Don't mistake my meaning - I detest the overwrought circus sets designed by Zeffirelli. I am very much in favor of spare but evocative sets that leave your imagination some room. But this set? Slapdash and ill-conceived. Voight deserved better.

Be advised this is not one of the "full monty" stagings of this work.

Finally, given the decades the Kennedy Center has been in business, you would think they could manage a cab line by now. "Manage" as in "have some cabs waiting."

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A compelling performance. Interesting stage setting. Great voices, and their German was flawless. But the whole storyline is actually horrible.

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This "Salome" is as good as any one can see in any opera house anywhere in the world. Every singer on the stage was outstanding, with nary a single comprimario in the cast. It was a treat to see a Herod and Heroidias who were actually good singing actors. Ms. Voigt is one of the best sopranos acting and singing on the stage today, and her characterization is touching. She gives us a Salome who is put into a situation far beyond her years, and suffering mortal consequences as a result. Mr. Sumegi is a force of nature, nearly blunted by Ms. Voigt's teenager. What can one say but, "What an amazing basso!" Of particular delight were Sean Panikkar as Narraboth, Richard Berkeley-Steele as Herod, Doris Soffel as Herodias, and Grigory Soloviov as the First Soldier. Each sang musically, with dramatic force, and technically very well.

The production design and costumes were actually beautiful in their way. The direction of Ms. Zambello was incisive and her vision of the piece is direct and satisfying. She tells the story, and gives us good motivation and back story, allowing us to believe and understand the tragedy that is unfolding in front of us.

Having seen this opera in Los Angeles, New York, and in Vienna I recommend this production and this cast without reservation. This is as good a "Salome" as one can see in 2010, and much better than those I have seen in the previous three decades.

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For such a salacious and decadent opera, the stage setting, acting and dances were not very notable. The music was excellent and the singing very good, although again, not evoking much passion.

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