Opera Review: Roméo et Juliette

Two years ago, I saw a perfect production by Stephen Lawless of Charles Gounod’s Roméo and Juliette by the water’s edge at the annual opera festival in Santa Fe, New Mexico.

The context of Civil War America, provides a rational reason for the otherwise unexplained hatred between the Montagues and Capulets and the show was exquisitely performed. After seeing the performance in New Mexico, I thought I’d had a one-time experience of such a high degree of satisfaction and enjoyment.

Imagine, then, my delight when I sat down in the Liceu this week and discovered that their latest production was none other than Lawless’ interpretation that had provided such pleasurable viewing in America. Indeed, the only thing missing was the lakeside setting at twilight, which paralleled the unavoidable darkening of this tragic tale.

The opening scene presents the coffins of two young Civil War soldiers centre stage, surrounded by mourning mothers for full emotional impact. A sincere moment that passes when the women discard their black cloaks to reveal ball gowns, segueing smoothly into the next scene. Bravo, Lawless, and bravo, beautifully choreographed chorus. As ever, Conxita García’s chorus was impeccable: she and it are true Liceu treasures.

Lawless successfully creates a dignified and logical background to the ongoing story that is brought to life by the near faultless performers, although on both occasions I found the setting of several scenes in a cloakroom slightly odd and hard to accept.

Juliette was delightfully sung by Aida Garifullina, who is young, beautiful and talented, although has some difficulty hitting the high notes. At just 30, she has already sung with many greats, including Plácido Domingo, as well as the late and very lamented Dmitry Hvorostovsky.  

The production’s Romeo, sung by Saimir Pirgu, is no stranger to the world’s prestigious opera houses. He made his debut at the Liceu in the 2011 season and has returned three times since. Surprisingly, his portrayal of Shakespeare’s tragic hero seemed at first subdued, but gathered strength quite rapidly. He had one quirk which surprised me each time it happened: when his voice changed from quiet to full-throated, the alteration was disconcerting.

The smaller roles were strongly performed. Isaac Galàn’s Paris had a charming baritone and was played well. The young men, Juliette’s cousin Tybalt (David Alegret), Mercutio (Gabriel Bermúdez) and Benvolio (Beñat Egiarte) each gave compelling performances. Finally, Nicola Ulivieri, the enabling Father Lawrence was highly effective in her role as the tragedy’s catalyst.

The opening of the second half, when the young couple have spent their wedding night together and must part, was the evening’s highpoint. In itself a beautiful scene, it was sung and acted with great tenderness.

Garifullina was especially good in the aria when she swallows the potion Father Lawrence has given her (the so-called “Poison Aria”). Oddly, the audience did not give her the ovation she deserved.

This was the production’s opening night, and it seemed that the cast gathered confidence as the evening progressed, something I don’t normally notice. But the second half was definitely stronger and more assertive than the first.

All in all a great pleasure. It runs until March 4th, and is well worth the ticket price.

Following this production is Umberto Giordano’s Andrea Chenier, which runs from March 9th to 28th. The production is directed by David McVicar, whose work has appeared across a host of prestigious venues. Excitingly, the first cast contains Jonas Kaufmann and Sondra Radvanovsky.