Richard Strauss, Brustbild

Signatur des Originals: S 36/G02324

Richard Strauss, Brustbild

Signatur des Originals: S 36/G04405

Richard Strauss, Brustbild

Signatur des Originals: S 36/G04406

Richard Strauss, Brustbild, Profil

Signatur des Originals: S 36/G04407

Margarete Siems als Marschallin, Szenenfoto, in: Richard Strauss: Der Rosenkavalier, Dresden, 1911

Signatur des Originals: S 36/F12441

Lucy Weidt als Amme, Rollenbild, Brustbild, in: Richard Strauss: Die Frau ohne Schatten, 1920

Signatur des Originals: S 36/12444

Ema Destinnová als Salome, Szenenfoto, in: Richard Strauss: Salome, Berlin

Signatur des Originals: S 36/F12445

Richard Baxter Foster Letter to his wife May 28 1864

Letter from Richard Baxter Foster to his wife Lucy from Baton Rouge, LA on May 28,1864

Richard Farrer, UM Football 1949

(crop from 1949 football team photo, bl001231)

The Gaze and the Circumvention of Power in Richard Strauss’ Salome

Richard Strauss’ opera “Salome” is a musical discourse of the uneven power dynamics between male and female with the idea of the gaze as its central narrative. Under the patriarchal premise of the male gaze, the men emerge as the gazers, while the women are relegated to the role of submissive objectification. This paper examines the way Salome manipulates this patriarchal notion of the gaze for her own gain, voluntarily offering herself as the object of the male gaze. I further postulated that Salome strategically oscillates between the stereotypical image of femme fatale and femme fragile, intentionally succumbing to the masculine-constructed demonization and idealization of female power. Consequently, this paper traces how Strauss’ music realizes those gender portrayals and Salome’s resistance against the male order, reflecting the use of musical analyses as a tool in understanding gender roles and power in operas.

Bailando con Dioniso: el mito de Leucipo y Daphne de Richard Strauss y Joseph Gregor

Primera parte de un artículo dividido en dos que analiza la profunda reinterpretación que del mito de Dafne llevaron a cabo, a partir del relato alternativo de Partenio de Nicea más que del célebre relato de Ovidio, Richard Strauss y su libretista Joseph Gregor en su versión operística Daphne (1938). El objetivo final es someter a examen la declaración expresa de Strauss sobre el significado de su nueva ópera y si a través de la manipulación del argumento mítico los autores lograron alcanzar su objetivo.