James Gill
The tragedy of the star-crossed lovers Romeo and Juliet reminds us, during this election season, how irrational hatred can destroy what is good in our world.
For that reason, and as part of this year’s ongoing Shakespeare celebrations, Madison Opera made a wise choice to open its season with Roméo et Juliette by Charles Gounod.
The opera, which opened at Overture Hall on Nov. 4, has long been under the shadow of the French composer’s popular Faust, though it has not slipped into obscurity like his other operas. It hews fairly closely to Shakespeare’s original at first, but a number of compressions dilute the story line. The libretto follows the 18th-century rewrite in which Juliet awakens before Romeo dies. Its score is not a great one, but it contains a plenitude of lovely music, which this production’s cast brings out well.
There is some disparity between the two leading singers. Emily Birsan, Juliet, is an outstanding product of the UW School of Music. Her admirers here are always glad to have evidence of her burgeoning career and blossoming talents. Her singing is beautiful and confident. Her Romeo, John Irvin, has an attractive voice that works well in the French idiom, but lacks some of the lung power needed to make his music ring out.
There are many important secondary roles, and these are delivered with consistent success: the Lord Capulet of Philip Skinner, the Tybalt of Chris Carr, the swaggering Mercutio of Sidney Outlaw (wonderful in his “Queen Mab” aria), the Friar Lawrence of Liam Moran, and the nurse of Allisanne Apple, another dependable local. Perhaps most striking, though, is Stephanie Lauricella, who makes a show-stopping appearance as the page Stephano.
I have not been happy with past Madison Opera productions that Doug Scholz-Carlson has directed, but this time he has devised a very effective dramatic flow, including his handling of the chorus’ movements. The costumes are sumptuous, and the set, designed by R. Keith Brumley for the Opera of Kansas City, very cleverly used movable backdrop segments. I love Marcus Dilliard’s subtle fading moon in the balcony scene.
The chorus is a strong element, and maestro John DeMain allows the fine orchestra to point up its contributions.
In all, a very fine production, to be repeated Sunday afternoon November 6.
