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OPERA NEWS
IN REVIEW
Roméo et Juliette, Toledo Opera, 10/7/06
Toledo Opera opened its 2006–07 season with a beautiful
production of Gounod's Roméo et Juliette (seen
on October 7). Thomas Conlin led a stirring account of
the score, incorporating most of the usual cuts but paced with
a sure hand. Peter Dean Beck's scenic design consisted of three
large units that fitted together in different configurations to
make an atmospheric set that met all requirements of the drama
and score. Choreography by Arkadiy Orohovsky was simple yet quite
effective.
Barbara Shirvis added yet another star to her Northern Ohio roster of heroines.
Her Juliette was sung with a warm, lyric soprano voice that soared to the heights
the role requires, both musically and dramatically. Her potion aria was a moving
counterpart to Act I's "Je veux vivre," which was sung exquisitely
in tune and with delicate phrasing. Her Roméo was Eric Fennell, whose
lyric voice has a rich texture to it. He was the perfect image of Shakespeare's
tragic hero – tall, dark and handsome. If his early scenes could use a
little lighter touch of joy and love, his fight scene with Tybalt was well sung
and acted. Although Fennell could use a little more size in his voice, he never
forces for more volume. "Ah, lève toi soleil" was well sung,
and the tomb aria was beautifully poised and moving. The death scene from both
was riveting.
Lee Gregory's Mercutio was also nearly ideal. He is tall and has a sizable voice
that nimbly limned the Mab aria, justly applauded. His physicality captured Shakespeare's
jokester quite well. Stephen Bryant's Lord Capulet was a strong vocal and dramatic
presence, matched by the stirring, rich voice of Stefan Szkafarowsky as Frère
Laurent. Szkafarowsky's presence in the wedding scene was quietly moving, and
the sleep aria was well shaped, too. Leah Wool as Stéphano, quite believably
a boy, delivered a delightful rendition of her famous couplet. The Tybalt of
Richard Clement was forceful and far better sung than is frequently the case
with this role.
Director Marc Verzatt added some nice touches — Juliette's reaction to
the carnage in the fight scene — and clarified relationships well. He elicited
very good acting from everyone and, along with fight choreographer Christopher
Barbeau, made the melée the dramatic pinnacle it should be.
ALAN MONTGOMERY
Reprinted with permission. |
