Well, this is lovely! I’ve never been a big fan of these star-crossed lovers; I thought of them as “stupid damn teenagers” even when I was a stupid damn teenager myself. But add some music to the story and it instantly gains a lot of interest – all that yearning gives abundant opportunities for making beautiful music. I’ve long been a fan of Prokofiev’s ballet version for that very reason. And Charles Gounod, composer of this operatic version, misses few opportunities for making glorious musical hay out of these adolescent passions, not only in the pair’s big arias and duets (which positively glow), but also in sensuously sparkling waltzes for the party scenes.
Director Bartlett Sher’s sturdy production drew inspiration from two films, Federico Fellini’s Casanova and Patrice Chéreau’s La Reine Margot. It leans more heavily toward the gritty grimness of Chéreau, where I would definitely have preferred more of the color, eccentricity and perversity of Fellini, but I’d call that a matter of personal taste. Sher’s staging certainly serves the material quite well. Choreographer Chase Brock, making a very impressive Met debut, makes those waltzes whirl and pulsate with a terrifically sculptural sense of space.
In the time that I’ve been covering opera at the Met, I’ve come to be a great fan of conductor Gianandrea Noseda. He triumphs once again here with a notably light touch, giving Gounod’s glittering score much welcome space and air. We also get a light touch from this productions Romeo, Vittorio Grigolo, but one that is not mutually exclusive with soaring passionate flights in the role’s upper register.
But the real story in this production is its Juliette, Diana Damrau. It was announced before the evening started that Damrau was suffering with a cold, but would be performing nonetheless. If we hadn’t been told, I would have been delighted by her liquid coloratura dynamics, but under these circumstances sounding so marvelous is nothing short of awesome. Recommended.
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.