For many, the focus of this Salome revival was the return to the house of one of its most cherished artists, the veteran soprano Dame Gwyneth Jones. Twelve years have passed since the State Opera last included Dame Gwyneth in its casts, despite a close association with the house of over three decades and with some 30 roles and 430 performances here to her credit.

The choice fell to the vintage (but still effective) Boleslaw Barlog/Jürgen Rose Salome production - this time with Dame Gwyneth adding Herodias to her Vienna repertoire. Naturally, now in its 75th year, the voice is not to be compared with its former glory, but years of stage craft complimented by a still generous amount of physical presence helped bring the role to life, and conjured up other potential cameo options for the diva here in the tradition of other beloved stars - among them, Welitsch, Mödl, and Hotter.

As Herodes, Thomas Moser returned in best form, his delightfully repulsive portrayal pregnant with nuance and character.

Two cast changes brought Markus Marquardt and Lise Lindstrom to the cast, as Jochanaan and Salome, and both rose wonderfully to the challenge.

Marquardt made good use of his burnished Heldenbariton, easily filling the auditorium and spitting out his revulsion at Salome's advances with contempt. The role seems to fit him like a glove, and he'll be an undoubted asset as a new member of the ensemble here in the coming season.

Lise Lindstom is a Salome to be reckoned with. Here's a soprano with a model figure and the ideal deportment to depict Strauss' teenage princess. Not only has she the capacity to soar over the composer's most intense orchestration with ease and beauty, but she manages to maintain seemingly endless stamina throughout - and includes a compellingly seductive dance for good measure. It was gratifying to see the well-earned reception at her solo curtain.

The remaining cast was up to par with a fine, ringing Narraboth by Marian Talaba, and a solid Page (role debut) by Alisa Kolosova

Thankfully no stranger to the house, Ulf Shirmer drew superb playing from the pit throughout the evening, in apparent total accord with the stage.

All-in-all, a rather special revival of this war horse production which has now clocked-up over 200 performances.