Minutes later, she really did kick up a storm in the Met's striking, updated production, designed by Santo Loquasto with a deco-meets-the-desert panache and vividly directed by Jürgen Flimm. Mattila turned in a volcanic performance that was as alive with facial and body expression as it was with vocal steel and nuance. She doesn't have the richest or warmest tone (in that regard, she reminds me a little of Birgit Nilsson), but she uses her voice brilliantly to communicate every syllable of text. And Mattila is a real actress, not an opera star pretending to act. From the way she revealed the first inklings of Salome's bizarre attraction to Jochanaan to her delectably perverse Dance of the Seven Veils (done up at the start rather like Marlene Dietrich, in a male formal suit), Mattila dominated the performance -- and the broadcast. The camera loved her.