The Metropolitan Opera: Roméo et Juliette

Jan 21, 2017

3h 30m

★ 8.0

Overview

Diana Damrau and Vittorio Grigolo are opera’s classic lovers in Gounod’s lush Shakespeare adaptation. Director Bartlett Sher’s “brilliant and inspired new production … is a revelation” (Huffington Post), and has already won acclaim for its vivid 18th-century milieu and stunning costumes during runs at Salzburg and La Scala. Emmanuel Villaume conducts the sumptuous score.

Genres

Music

Drama

The Metropolitan Opera: Roméo et Juliette Trailers

Cast

Juliette

Diana Damrau

Romeo

Vittorio Grigolo

Mercutio

Elliot Madore

Frère Laurent

Mikhail Petrenko

The Duke of Verona

Oren Gradus

Gertrude

Diana Montague

Grégorio

Jeongcheol Cha

Stéphano

Virginie Verrez

Benvolio

Tony Stevenson

Self - Host

Ailyn Pérez

The production by Deutsche Oper Berlin achieves a beautiful balance between the stage drama and the music. It proves that there are still singers who can perform Verdi's melodies at the highest level and that it is also possible to bring them together into an ensemble. The production fulfills all one's expectations of the modern city of Berlin in terms of stylishness and performance.

5.4

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0.0

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0.0

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0.0

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0.0

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A tribute to marriage coming from a bachelor is a tad suspicious. But for Beethoven the idealization of the woman-bride was heartfelt and sincere. It has always been a unique opera starring a courageous wife who wows audiences. Fidelio is a moral title, associated with the ideals of liberty of the French Enlightenment. Nobility and commoners are united in their thirst for justice against the oppression of power. For once the faithful consort of a desaparecido wins her battle against a treacherous tyrant, and the collective joy truly is “nameless”, as is sung on the stage. Especially because the “our heroes to the rescue” finale is recounted by the triumphant symphonic flair of the quintessential musician. Beethoven really does bring the world to collapse at the conclusion of this opera, which begins like a delightful little comedy, but which scales and transcends all the summits of the dramatic-musical art.

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No overview available.

0.0

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6.0

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6.0

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0.0

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0.0

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Verdi’s admiration for Shakespeare led to such masterpieces as Othello and Falstaff, and if the earlier Macbeth isn’t on their exalted level it’s still a powerfully dramatic opera that hews closely to the original’s story line. The MET’s production retains the dark aura of the opera while updating it to a vaguely post-modern context. So the witches are bag ladies in various stages of decrepitude, with children in tow. The Banquet Scene features lowered chandeliers, a plethora of chairs, and a slew of extras dressed in tuxedos and party gowns. Macbeth sports a leather coat, the soldiers are in drab brown uniforms and seem to have fingers on their triggers even when they’re supposed to be in non-threatening situations. Director Adrian Noble also has Lady Macbeth do an inordinate amount of writhing around and singing from a lying-down position, adding to the feeling that a less interventionist directorial hand might have generated more impact.

0.0

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0.0

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7.0

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9.5

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0.0

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8.0

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0.0

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