Is this salacious opera a critique of Jewishness — or a celebration of its complexity?

Is this salacious opera a critique of Jewishness — or a celebration of its complexity?

Director Claus Guth’s production of Salome at the Metropolitan Opera is heavily laden with psychoanalytic symbols. King Herod’s titular stepdaughter, dressed in a Victorian-era children’s dress complete with lace collar and knee socks, is followed around by six ghostly children, miniatures of herself. In the show’s centerpiece — the Dance of the Seven Veils — each young girl dances for a menacing figure wearing a black ram’s head: an evocation o…