Romeo et Juliette
State Opera South Australia have outdone themselves with their latest production of Roméo and Juliette by Charles Gounod! The Adelaide season is the first stop for this collaboration with West Australian Opera and the Irish National Opera.
Roméo et Juliette by Charles Gounod was composed in the 19th century and premiered in 1867 in Paris. The opera is a French adaptation of William Shakespeare's iconic tragedy Romeo and Juliet, set to a libretto by Jules Barbier and Michel Carré.
While the libretto does not always exactly match the words of the Bard, the eternal theme of the ‘star crossed’ lovers (exquisitely echoed in the set design) remains true, and there was more than a tear shed at the conclusion of this ‘grand opera’.
The story is timeless, and concerns the passionate love between Romeo, a Montague, and Juliet, a Capulet, whose families are embroiled in a bitter feud. Despite the obstacles, their love blossoms, leading to secret meetings and deep devotion. They marry secretly, but Juliet’s father has other marriage plans for her, so in league with Friar Lawrence, Juliet takes a potion that will render her seemingly dead for a day, after which she will awaken and run away with Romeo. Of course, things do not go as planned and Romeo arrives to find his new bride ‘dead’. The ending is legendary as the two lovers die in each other’s’ arms.
The opera contains themes of love & passion, fate & destiny, conflict & hatred, sacrifice, and innocence & youth portrayed by two young actors playing the child versions of Romeo and Juliet who appear throughout the opera.
Under the direction of Rodula Gaitanou, these themes are more than explored, they are fleshed out. Gaitanou has abandoned the traditional ‘stand and sing’ of opera and replaced it with genuine emotion that tugs at our heart strings.
Her characters are real, the love is real as is the hatred. We feel for the characters and their doomed plight. Will the feuding families find common ground after the tragic deaths of Romeo and Juliet? We may never know, but this version gives us hope for the future.
One of the highlights of Gaitanou’s production is Takis’ set and costume designs – from the crumbling set pieces riddled with what seems to be bullet holes but become stars, to the gender bending costumes of the masquerade ball, the concepts have been carefully thought out.
The opening of the opera with the two families facing each other in trench coats, hats and guns sets the scene perfectly, and the design just keeps going. The set also features neon elements that are green to symbolise trees or yellow to symbolise lightning or the fracture between the families. It is clever work.
Takis’ set is effectively lit using Bernie Tan-Hayes lighting design that takes us into many different realms from the brightly coloured ball and the evening ambience of Juliet’s garden to the starkness and shadowy crypt of the last act.
Special mention should be made of Jo Stone’s fight & movement coordination which took me straight back to the street fights in West Side Story.
With Dane Lam at the conducting helm of the Adelaide Symphony Orchestra we are enveloped in Gounod’s lush orchestration with its bold brass and sweeping string sections. They capture every emotion in the opera beautifully and balance perfectly with the singers. Some of the finest playing I have heard from the ASO in an opera setting!
The young lovers, Siobhan Stagg (Juliette) and Kyle Stegall (Romeo), are world class singers and gives their all in demanding roles, vocally and physically. The last words “Lord forgive us” are heart breaking!
Stagg’s ‘Ah! Je veux vivre’ is perhaps the most famous aria from the opera and a test for any coloratura. As an audience we hold our breath in anticipation, and we are not disappointed, the aria is faultless and effortless. Stagg’s emotional range is amazing and she takes us from the heights of infatuation to the depths of despair at losing her love.
Stegall is a perfect match for Stagg and a tortured soul. What he wants is out of his reach, but he is never deterred. His ‘Ah! Lève-toi, soleil!’ comes straight from the heart with a voice to match . He cuts a fine figure in grey trousers and vest. Like Stagg he also has a vast emotional range, not only in his singing but also his acting.
Morgan Pearse’s Mercutio is brash and full of bravado and his “Mab, la reine des mensonges”, (Mab’s Aria) is a perfect vehicle for the rich baritone voice and sense of humour.
Pelham Andrews’ Frere Laurent (Friar Lawrence) gives a sympathetic performance that highlights his powerful bass voice, while Eugene Raggio’s Capulet is frightening to watch for all the right reasons.
Other notable performances come from Charlotte Kelso (Stephano), Catriona Barr (Gertrude), and Nicholas Lester (le Duc) among many others.
Congratulations to the ever-present State Opera South Australia chorus (under the direction of Anthony Hunt). Not only are their harmonies glorious, rich and fill the entire theatre, but their choreography is well drilled and executed. They add richness and colour to every scene they feature in.
There is one word that perfectly sums up Romeo et Juliette by State Opera South Australia, and that word is sublime! If you haven’t bought a ticket yet, I urge you to do so quickly, it is a stunning production!
Barry Hill OAM
Photo credit Andrew Beveridge
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