A “prophecy motif” from this opera that consists of two descending fourths and a tritone on notes (10[1])(read slowly) “C, long G; up to F, long C; up to A, long D-sharp” is associated with a character who first appears as an (10[1])offstage voice. Répetiteurs often audition with a difficult section of this opera in which a group of five Jews quarrel over theology. Chapter 1 of Alex Ross’s The Rest is Noise discusses how two “harmonic spheres” (10[1])are created by the rising clarinet scale that opens (10[2])this opera. An (-5[1])A dominant-seventh and F-sharp (10[2])major (-5[1])polychord at the end of (10[1])this opera has been called “the most (10[1])sickening chord (10[1]-5[2])in opera.” An Oscar Wilde play forms (10[2])the libretto (10[1])of (10[2])this (10[1])opera, (10[1])which (10[1])ends (10[1])as Herod (10[1])orders (-5[1])the title (10[2]-5[1])character’s death. For (10[1])10 points, the “Dance (10[1])of the (10[1])Seven Veils” (10[1])is included (10[1])in what (10[1])Richard Strauss opera (-5[1])about a princess who demands the head of John (10[1])the (10[5]0[9])Baptist? ■END■