Kyle Oliver, Stephanie Doche, Alina Tamborini, Robert Kleinertz, and Michael Leyte-Vidal
Actually, Vincenzo Bellini's version of the Romeo and Juliet story is just one of many tellings of the tale of the "star-crossed lovers". Most people would associate Shakespeare's tragic play with the story. Ballet fans would think of the ballet created with music by Prokofiev. Film fans might think of the one Zeffirelli directed from 1968 (among others, dependent upon their generation). Opera lovers would most likely think of the Gounod opera Romeo et Juliette.
As we learned at last night's stimulating evening spent with Teatro Nuovo, some mighty fine music related to the story of Romeo and Juliet was created by Niccolò Antonio Zingarelli in 1796 and by Girolamo Crescentini and Nicola Vaccai (Yes, that Nicola Vaccai, the one all young singers begin with). There is even a lovely duet written by Stephen Foster entitled "Wilt Thou Be Gone, Love?"
The main event however was the stunningly melodic and harmonically original I Capuleti e i Montecchi, not as well known as the Gounod opera but highly worthy of our interest, especially when so well sung as it was at the Rose Theater.
So dramatically compelling it was that we forgot to listen for the distinctive details which set Bellini's music apart from that of other famed composers of the bel canto era. One can never be unaware of Bellini's lengthy legato lines, so challenging to the singer. However, we are ashamed to admit that we got so wrapped up in the performance that we neglected to note the interesting dissonances pointed out so well at Will Crutchfield's compelling lecture which immediately preceded the performance.
Nonetheless, it was interesting to hear the unique dissonances Mr. Crutchfield illustrated at the piano and also interesting to learn how Bellini's harmonic inventiveness influenced Wagner, among others. We had never realized the importance of the semi-tones and appoggiature. Even Berlioz, initially unimpressed by Bellini, was won over by this opera
Well, Dear Reader, you already know that our heart lies with melody and of that we heard many, enough for the next few operas! As the hapless couple, one could not imagine better performers. Alina Tamborini created a moving Giulietta, torn between her love for Romeo and her loyalty to her unloving father, well portrayed by Michael Leyte-Vidal with all the right degree of arrogance and stubbornness coloring his substantial bass-baritone.
Ms. Tamborini's warm soprano was unfazed by Bellini's challenging fioritura and her duets with mezzo-soprano Stephanie Doche were the highlights of a wonderful evening. Were her performance any less impressive, we might have said that Ms. Doche stole the show. She caught every nuance that Bellini threw at her character and was dramatically convincing in the role. We are often disappointed in "pants roles" when the singer just doesn't have the masculine movements down right. There was enough swagger to Ms. Doche's walk that we forgot we were watching a woman. Now that's art!
Baritone Kyle Oliver portrayed the resident physician of the house of the Capulets and created a sympathetic character. As Tebaldo, tenor Robert Kleinertz might have been miscast. As soon as he began to sing, we thought "What a sweet voice, what a great Tamino or Nemorino he might be". But Tebaldo is the villain of the piece and needed more snarl, more angry color. Unfortunately, pressing the voice for more volume is no substitute for coloration.
Although it is not necessary to describe in detail how the story differs from other tellings of the tale, it is necessary to note that the principle of rival factions is as important as the love story. We are moved to learn a bit about the Guelphs and the Ghibellines but it is not a stretch to consider the destructive divisiveness in our own culture at present. We just hope that some arrogant director won't decide to do the opera with such a reference. Far better it is for the audience to make that connection.
As is usual with Teatro Nuovo, there is virtually no costuming, almost no stage furniture, and no sets. Instead, there are beautiful projections, fortunately not film, rather stills portraying Renaissance Italy, although looking nothing like the Verona of our memory. Whilst not exactly a concert version, there is almost no stage direction (although a stage director was listed in the program) and the excellent chorus, dressed in suits, just stood around in a group. One got the impression that the singers worked things out for themselves. The tomb scene worked particularly well.
The Teatro Nuovo Orchestra is always a pleasure to hear and was enthusiastically and stylishly conducted by Primo Violino Jakob Lehmann, who is a lot of fun to watch. Mr. Crutchfield was Maestro all Cembalo.The solos were superb, especially a clarinet solo (Maryse Legault) which reminded us how similar the clarinet is to the human voice, not only in term of sonority but also in terms of musicality.
Let us just make a quick mention of the excellent artists who sang in the pre-opera serenade, accompanied by Timothy Cheung. We enjoyed soprano Elizabeth Novella and mezzo-sopranos Sedona Libero and Addie Rose Brown. We loved the Stephen Foster duet performed by Abigail Rayford and Marcella Astore, although the English diction left something to be desired. The best part, however, was the concluding quartet performed by Zoe Rose Pallas, Jeremy Luis Lopez, Markos Simopoulos, and Owen Phillipson. The four voices were woven together in a fashion reminiscent of a string quartet. We couldn't help noticing that all of the exercises in Vaccai's book were utilized! No wonder all singers start with them!
© meche kroop
