Based on the Old-Testament story of Joseph and Potiphar’s Wife, Richard Strauss’s ballet received its world premi?re at the Paris Opera a century ago, in May 1914. Composed to the libretto of Hofmannsthal and Harry Kessler, the work was commissioned by the impresario of the Ballets Russes, Sergei Diaghilev, at the height of his game. The title role was due to be danced by the idolised, brilliant Vaslav Nijinsky; in the meantime, however, Nijinsky and Diaghilev parted company, so Joseph was danced by Léonide Massine at the premi?re. Gigantic even by Straussian standards, the orchestra includes six horns, four trumpets, four trombones and a quadruple woodwind section (with a contrabass clarinet), four harps, celesta, piano, percussion and a divided string section (three violin, two viola and two cello parts), and poses a considerable technical challenge to the musicians.
The plot of the ballet is as follows. Potiphar and his ice-cold, motionless wife are being entertained in a circle of slaves (Dance of the Women – Sulamith’s Dance: The Most Ardent Desire – The Boxers Break into a sort of Round Dance). The sleeping Joseph is brought in by a procession accompanied by a harp, flutes and strings. The innocent, fifteen-year-old shepherd’s dance and his sky-high leaps pique the interest of Potiphar’s wife. At night she visits Joseph asleep in his chamber and, in the longest, central scene of the work, tries to seduce him. Joseph’s rejection transforms passion into hatred. She has the boy captured and accuses him of attempting to seduce her. Seeking to protect Potiphar’s wife, the slaves dance to a hysterical climax. Potiphar has Joseph chained and wants to have him tortured. A staggering pantomime follows between Potiphar’s wife, struggling with her own fatal passion, and the boy. A supernatural light floods the stage, an archangel appears and Joseph’s chains break off. The angel carries off the boy and Potiphar’s wife strangles herself with her pearl necklace.