trixxie carr | Salome, Dance for Me

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Salome, Dance for Me

by trixxie carr

Rock chanteuse and faux queen trixxie carr belts her signature powerhouse vocals in her fiercely-entertaining, glam rock, solo musical re-imagining of Oscar Wilde’s cult biblical tale and Richard Strauss’ controversial opera about obsession and desire.
Genre: Pop: Pop/Rock
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  Song Share Time Download
1. Moon
5:32 $0.99
2. Mole Eyes
4:40 $0.99
3. A Prophecy
4:11 $0.99
4. Salome, Dance for Me
3:19 $0.99
5. Suffer Me to Kiss
7:33 $0.99
6. The Lullabye
3:41 $0.99
7. The Kiss / Into the Abyss
7:02 $0.99
Downloads are available as MP3-320 files.


Album Notes
A lecherous king. A savage and sensual dance. A shockingly macabre reward. Rock chanteuse and faux queen trixxie carr belts her signature powerhouse vocals in her fiercely-entertaining, glam rock, solo musical re-imagining of Oscar Wilde’s cult biblical tale and Richard Strauss’ controversial opera about obsession and desire, under the spotlight of the naked moon. Just hold on to your head.

"It has a sense of humor about the lurid tale while still managing to hold on to its basic horror ... intriguing compositions ... carr can project the essences of the characters through broad strokes. " Bay Area Reporter

"Electrifying." Talkin' Broadway

 "Salomé has come a long way and still has something new to say." American Theatre Magazine

 “trixxie carr takes the Biblical tale to new places by adapting Oscar Wilde's seductive version of the story into a solo performance piece — but rather than going down the Richard Strauss musical route, she swaps traditional opera for glam rock with assistance from pianist (and former Adler Fellow) Robert Mollicone." SF Weekly

"In fusing her own sensibility with the oft-told tale of Salome, carr joins other writers and artists throughout history, from the original tale told by the Gospels of Matthew and Mark through painters such as Filippo Lippi, Titian and Caravaggio, to an opera that predated Strauss’ (“Hérodiade,” by Jules Massenet, based on Flaubert’s story), to poetry, to songs (by Andrew Lloyd Webber, Liz Phair and many more) to dozens of films, including Al Pacino’s 2011 “Wilde Salome,” featuring Jessica Chastain. There’s even an asteroid named Salome."

"trixxie carr is one of the best all around performers I have ever seen." Audience Member


Judea, A.D. 30 (approx). On the moonlit terrace of the Tetrarch, King Herod’s palace, Salome rushes out for fresh air, bored with Herod’s lechery and his coarse guests. (Moon)

Echoing from a deep cistern - a well being used as a dungeon - is the voice of a prophet, Iokanaan/John the Baptist, who has been imprisoned by Herod, fearful of his prophecies. (A Prophecy)

Inside the cistern, Iokanaan denounces the incestuous union of Herod and Salome’s mother, Herodias, and demands Salome repent. Equally appalled and mesmerized, Salome is increasingly overcome by desire for Iokanaan, and sees him a means of escape from her life. She attempts to seduce him, and the prophet rejects her, speaking of the Son of God who will come to save mankind. (Suffer Me to Kiss)

Herod emerges with Herodias, seeking Salome, who soon enters, only to continue ignoring Herod’s advances. Iokanaan cries prophetic warnings from the well, prompting Herodias to demand he be silenced as he continues to interrupt her political monologues, and frustratingly prevents her from being able to sing her own song in the play. Herod’s attention is solely focused on Salome, whom he begs to dance for him, and promising anything she might wish in return. (Salome, Dance for Me)

Salome makes Herod swear he will live up to his promise, and against her mother’s warnings, she dances the Dance of the Seven Veils. In return, Salome demands her payment be the severed head of the prophet. As the moon turns blood red, Salome seizes her reward passionately, ecstatically kissing Iokanaan’s lips, achieving fulfillment at last, yet feeling a deep sadness (A Lullabye)…and then suddenly things change…

In carr’s version of the story the characters orbit each other, locked into cycles of obsession and pleading with each other to be heard, respected, loved and escape. Where the original play and opera end with King Herod ordering Salome to be killed, carr’s version diverts from the standard ending and turns metaphysical, and Salome dances the Dance of the Seven Veils again, but this time it is fundamentally different. It is a dance that examines our bargain with the universe to exist, ‘trapped’ in physical form, and our ability to move beyond this together into another dimension of being, looking into the abyss with love, instead of fear.

“Into the Abyss” is dedicated to Nietzsche, Carl Sagan, and The Never Ending Story.

'Salome, Dance for Me' is a one woman glam rock adaptation of Oscar Wilde and Richard Strauss' works, and was first performed in San Francisco Aug. 2015 at The New Conservatory Theatre Center as part of their 'Emerging Artists' program, with support from SFAC.


Vocals, words, synths, virtual instruments and beats: trixxie carr

Piano: Robert Mollicone

Engineering, Mix, Music Production and Guitars: Le Greguar

Cover Art Design: Cheshire Isaacs and Josh Staples/Photo: Louis Tema

PS: This method of explaining the songs along with the story makes me think of Amanda Lear, please look her up if you do not know her music...



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