National Lyric Opera’s “Romeo et Juliette” scores big for Opera New England of Cape Cod and its audience

Published on Monday, October 29, 2007

By Paul Joseph Walkowski
OperaOnline.us

When Michael Capasso’s National Lyric Opera comes to town to perform, it’s certain to be an event, and yesterday afternoon’s performance (Sunday, October 28) of Charles Gounod’s melodious “Romeo et Juliette,” sponsored by Op-era New England of Cape Cod, was no exception.

National Lyric Opera brings with it both a focused New York feel in all its productions and healthy bundle of emoluments that are sure to satisfy those who enjoy opera. We’re talking a full orchestra of thirty pieces, a magnificent production team that includes some of the best set, lighting and costumes you will see from a company its size, and a team of big-voiced professional singers that simply amaze.

The Tilden Arts Center, located on Cape Cod Community College campus, right off route 132 in West Barnstable, is a 648 seat theater with an ample stage and all the pulleys and scrims one needs to create the look of a big opera. Let’s start there. Everything about this production was top-notch. Things I never fail to notice are: effective lighting that illuminates not only the stage but background as well. Lighting here by Susan Roth was wonderful. The sets by John Farrell were also extremely effective, and the manner with which they were moved about the stage was also nothing short of superb. Scenes seemed to change, almost imperceptibly, in the middle of acts, while the performers moved about from outside to inside, from crypt to garden to outdoor balcony. During intermission members of the audience raved about the look of this production, and for good reason. And the costumes by Angela Huff were – well – they actually seemed tailored to the singers, fitting of the cast, period and status of the clans depicted in this 15th Century, Verona drama. Well done!

When you talk “Romeo and Juliette,” you think of the rivalry between the Montague and Capulet families and of the fated love between the young lovers: Juliette, a Capulet, to the opposing Montague’s, Romeo. And, of course, in this opera sword fighting and good choreography is very important. If it doesn’t look real, everything suffers. This production had some of the finest sword fighting and street brawling I have seen on stage. Hats off to choreographer Francine Harman and co-fight coordinators Dale Girard and Robert Westley. Kudos!

We now come to the singers, last but certainly not least. If you live on or around the Cape and you enjoy opera, but missed this performance, you missed a lot, too bad. The show was a true joy and great way to spend a leisurely Sunday afternoon.

Soprano Kristin Sampson’s Juliette was a real treat: strong in vocal delivery with good range and an open, rounded sound at the high end that had a pleasant warm edge to it. Ms. Sampson, from start to finish, delivered a superb performance, demonstrating, besides considerable vocal talent, a solid, even sensuous, stage presence. Brava!

Tenor Jason Karn, singing the role of Romeo, was a match for this talented Juliette in every way, cutting not just a fine figure of youth on stage, but with a communicative ringing vocal delivery that, standing alone, would have made him a fine Romeo but, when bundled with the considerable acting skills he displayed, made him an ideal Romeo to Ms. Sampson’s Juliette. Together, they exhibited a strong physical chemistry that was obvious to the audience, from the fluid symmetry of their body movements to the frequency and extended nature of their embraces and kisses.

Tenor Richard Furman as Juliette’s cousin, Tybalt, also gave a strong and believable performance, both physically (nice sword fighting) and vocally, as did Soprano Robin Flynn, who, for a brief role, stood out for her sword fighting, distinctive voce and fine acting ability. In this fine ensemble, it would be remiss not to acknowledge a fine performance by mezzo Lisa Chavez, as Juliette’s nurse, Gertrude; Bass, Matthew Lau, as Friar Lawrence; and a nice touch of singing and acting (sword fighting) by baritone Chad Armstrong, singing the role of Mercutio.

The orchestra, under the baton of Pacien Mazzagatti, gave a full, resonant and nicely paced performance of Gounod’s pleasing score, shaded where it needed to be shaded, communicative where it needed to make a statement, and supportive when, as in the final scene, the music and voice needed to blend not into a sound from the score but an emotion that went much deeper and carried over to the audience as well. Here, the mission was accomplished with ease and elegance.

On leaving the theater, the audience was abuzz with compliments and kudos for this production, which I must say, was deservedly given. I have seen National Lyric Opera perform in other productions and have come to expect excellence from this polished team. Excellence was the order of day yesterday to everyone’s complete satisfaction.

Production, Michael Capasso
Conductor, Pacien Mazzagatti
Set Design, John Farrel
Costume Design, Angela Huff
Lighting Design, Susan Roth
Choreography, Francine Harman
Fight coordinators, Dale Girard and Robert Westley

National Lyric Opera’s “Romeo et Juliette” scores big for Opera New England of Cape Cod and its audience

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