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Act I
Scene 1
Count Capulet, a Veronese nobleman, is giving a masked ball for his
daughter, Juliet, in honor of her entrance into society. The music
begins with a multi-sectional ensemble for soloists and chorus
that reflects the festive nature of the opening scene. Secretly
attending the ball is a group of young men from the noble house
of Montague, bitter rivals of the Capulet family. The leader
of the group, Romeo, and his friends treat this escapade as a lark
although Romeo has recently had a disturbing dream about the adventure.
The first important aria, “Mab, reine des mensonges,” (“Mab,
queen of illusions”)
is sung by Romeo’s friend, Mercutio, who reassures his friend
that his dream is only the work of a fairy called Queen Mab. The
aria is in the form of a three-section ballade and contains colorful
nuances in the orchestra. Of
particular note is the use of the violin and the flute which produces
a fairy-like, ethereal effect. Romeo’s forebodings are laughed
off by his friends.
Count Capulet introduces his daughter to the glittering assembly.
Juliet makes her appearance with a dazzling entrance aria, “Je
veux vivre,” (Let me live in my dream) in which her youthful
charm and exuberance are clearly demonstrated by the waltz-like tempo
and the coloratura passages and grace notes. When the guests
have gone into the banquet hall Juliet lingers behind and gives expression
to her girlish joy in life. Romeo steps out from concealment
and looks directly into Juliet’s eyes. The two are instantly
aware of a mutual feeling and attachment that seems to exist between
them. This encounter is the occasion of the first of four love
duets. Gounod titles the short duet a “madrigal,” not
a traditional operatic musical form, but one that reflects the structure
of the text and the backdrop of the Renaissance period. The
arpeggio-like accompaniment in the upper strings seems to characterize
the adoration bubbling up in both Romeo and Juliet.
The sudden appearance of Juliet’s cousin, Tybalt, cuts short
their reverie. He recognizes Romeo and denounces him. A
fight is averted by the timely arrival of Count Capulet who does
not wish to have the festivities spoiled by violence. He restrains
Tybalt and allows Romeo and his friends to depart in peace. The
same joyous waltz music that began the scene returns the revelers
to their celebrating.
Scene 2
Romeo has again braved the wrath of the enemy for another
chance to see Juliet. Gazing up at her balcony he compares her to
the morning sun. Juliet appears on the balcony. Romeo reveals
himself and declares his love. Gounod clearly demonstrates his gift
for lyricism. Accompanied by the harp the beautiful, long melodic
line communicates a sense of purity and peace. Gounod closely
follows the original Shakespeare in Romeo’s aria, “Ah!
Leve-toi soleil!” (Ah, Rise fair sun!). A lovely orchestral
feature is Gounod’s use of harmonies, which descend chromatically
to represent the waning stars. A lovely orchestral feature is Gounod’s
use of harmonies, which descend chromatically. Juliet’s
nurse, Gertrude, calls for her and she reenters her apartments. After
a few moments she returns to bid Romeo good night. The tender
scene is resumed as Romeo pleads with Juliet to linger awhile longer.
Juliet cautions Romeo that someone may see them together, but she
lingers nonetheless. The two pledge their love in the second
love duet, “O
nuit divine,” (O blessed night) which culminates with the lovers
singing in sixths, a technique in duet writing used to convey oneness
of spirit. Gounod used musical holds (fermatas) and directions
to hold back (molto ritenuto) to heighten the sense of passion. The
scene ends with the lovers committing themselves to marriage the
next day.
Act II
Scene 1
Romeo comes to Friar Lawrence to tell him of his love for Juliet. Juliet
arrives shortly thereafter with Gertrude and asks the friar to marry
them. Friar Lawrence believes in the strength of their love
and performs the ceremony, hoping their union will help end the hatred
between the two families. The marriage of Romeo and Juliet
is expressed in a trio, “Dieu qui fis l’homme à ton
image,” (Oh God who made man in thine image). Each verse
of Friar Lawrence’s prayer alternates with Romeo and Juliet
intoning a unison response. The trio becomes a quartet when
Gertrude joins them in a joyful praising of God for their happiness.
Scene 2
Romeo’s page, Stephano, is looking for his master and stops
in front of the Capulet house where he sings a taunting song, “Que
fais-tu, blanche tourterelle,” (What are you doing, white turtle-dove?).
(Stephano is played by a woman in order to achieve the youthful timbre
of a young boy’s voice). Gregorio and other Capulet servants
hear him and come out of the house to attack him. A group of
Montagues and other Capulets join the fight and soon the brawl escalates
out of control. For the fight music Gounod writes a jagged,
rhythmic figure in the violins, accompanied by tremolos in the lower
strings. Romeo arrives and tries to stop the fight between his friend,
Mercutio, and Tybalt, Juliet’s cousin. Tybalt challenges
Romeo who refuses to fight. Mercutio defends Romeo’s
honor but is slain by Tybalt. Romeo cannot restrain himself
and he, in turn, slays Tybalt. A heart-wrenching and moving
solo for Romeo and chorus, “O jour de deuil,” (O day
of mourning) continues with the arrival of the Duke of Verona. After
hearing an accounting of events, the Duke banishes Romeo from Verona.
Act III
Scene 1
Romeo has found his way into Juliet’s room. It is their
wedding night. An instrumental prelude, scored for four cellos,
creates a rich musical texture expressing the tenderness and intimacy
of young love. Dawn has broken and Romeo knows he must leave
even though Juliet begs him to remain a little longer. They
begin the third love duet of the opera. In the first
section Juliet forgives Romeo for having killed her cousin, “Va,
je t’ai pardonne,” (Go, I forgive you). In the low section
of the duet the music evolves into a passionate melody with Romeo
and Juliet singing in thirds, accompanied by a pulsating figure in
the strings, perhaps reflecting the intense beating of their hearts, “Nuit
d”hymenee,” (O wedding night). They bid each
other farewell in a cabaletta, “Il fait partir,” (You
must go, alas).
After Romeo’s departure Friar Lawrence, Capulet and Gertrude
arrive to tell Juliet that it was Tybalt's dying wish that she marry
Count Paris. Arrangements are being made for an immediate wedding.
Capulet and Gertrude leave Juliet alone with Friar Lawrence. She
begs for his help and advice. He tells her not to despair and
gives her a potion to drink which will induce a death-like sleep.
When her family believes her to be dead and places her in the family tomb
she will awaken and be able to flee Verona with Romeo. Friar
Lawrence promises to be there with Romeo when she awakens from her
trance. Juliet agrees and drinks the contents of the flask. Capulet
arrives with Paris and Gertrude to escort Juliet to the wedding.
The potion takes effect and Juliet falls, seemingly lifeless. The assembled
company cries out in horror and grief.
Scene 2
Juliet lies in the Capulet burial vault. A delicate instrumental
passage reflects her motionless state. Romeo believes that
Juliet is dead and enters the vault to see her one last time. He
sings,” Salut, tombeau! Sombre et silencieux,” (Hail,
tomb! Somber and silent) and gives her a farewell embrace before
drinking a deadly poison. Juliet begins to stir and show signs
of life. They greet each other with ecstasy, “Viens!
Fuyons au bout du mond!’ (Come let us flee to the end of the
earth!) and begin the last of their four love duets, using thematic
material from earlier in the opera. The poison Romeo has taken
begins to take effect. Juliet, reacting with despair, reaches
for Romeo’s dagger and stabs herself. Romeo and Juliet,
begging God’s forgiveness, die in each other’s arms. |
