A “prophecy motif” from this opera that consists of two descending fourths and a tritone on notes (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” are created by the rising clarinet scale that opens this opera. An (-5[1])A dominant-seventh and F-sharp (10[1])major polychord at the end of this opera has been called “the most sickening chord in opera.” An Oscar Wilde play forms the libretto of this opera, which ends as Herod orders (-5[1])the title (-5[1])character’s death. For 10 points, the “Dance (10[1])of the Seven Veils” is included in what Richard Strauss opera about a princess who demands the head of John (10[1])the (10[1])Baptist? ■END■