Following on the heels of the Richmond Ballet’s triumphant presentation of “Romeo & Juliet” last weekend, the Virginia Opera offered Charles Gounod’s lyrical take on the tale of the star-crossed lovers in an emotionally sensitive production in the Carpenter Center Friday.
From the very first turbulent notes of the opera, there’s no mistaking that things are not going to turn out well. Gounod’s “Romeo et Juliette,” like the ballet and most other variations on the Shakespearean tale, is faithful to the basics of the tale.There are some modifications here and there, but the basic story feeds the opera, which remains powerful and passionate.
The score is not of the sweeping scope heard in the likes of a “La Boheme” or “Madama Butterfly.”It supplies solid melodic transport for the extensive narrative that flows throughout the work.The work’s main claim to fame as a hallmark of French opera rests with four highly lyrical duets between Romeo and Juliet.And, in honesty, that’s as it should be inasmuch as the work’s main focus from the get go is on the youthful and passionate couple.Little time is spent on establishing background on conflicts between the Montagues and Capulets and other associated events in the play.
The four duets trace the pivotal steps in the romance, from youthful shyness through growing maturity and passion to ultimate sacrifice.In this production, they were expertly sung by soprano Marie-Eve Munger and tenor Jonathan Boyd.Munger’s coloratura ability and liquid sound impressed throughout, as did her developed sense of the theatre.Similarly was Boyd impressive, his clear tenor strong and secure and, notably, sensitive and soft, as required, in upper realms.Together they were a convincing, well-matchedpair who easily carried the work’s action and emotions to a poetic and poignant close.
They were ably assisted by developed and distinguished deliveries by Efrain Solis (Mercutio), Kyle Tomlin (Tybalt), Kevin Langan (Frere Laurent), Susan Nicely (nurse Gertrude), Kim Sogioka (Stephano) and Ashraf Sewailam (Count Capulet).
The Virginia Opera chorus was in full voice, which added to the sound appeal.Despite my rusty French, I was able to appreciate the attention to detail given the lyrics on the part of all and applaud the lot for its singing finesse.
Director Bernard Uzan provided an intelligent flow of action that moved Gounod’s five acts along with nary a sense of fatigue.His fine artistic touch was apparent in the sensitive renderings of emotion between Romeo and Juliet, notably the final two acts in which events move tragically forward to the ultimate declaration of love – death.
Uzan and Michael Baumgarten’s production was visually lush, with serviceable and adaptable sets that allowed distinct locales and truly beautifully detailed costumes.Lighting cast a dramatic dimension on things, adding to the visual appeal.
Musically, conductor James Meena coordinated things between singers and the Virginia Symphony with a strong and sensitive hand, allowing the music to pulse with the action, from the strong, opening forbidding chords to the tenderest of love theme lines that effectively closed this touching production.
