Of the 12 operas that Charles Gounod wrote, two have survived the test of time: Faust, which is superb and Roméo et Juliette, which is the only one in this form based on this Shakespeare play that earned street credit in the theater. Premiered in 1867, Roméo et Juliette stands primarily on the music that Gounod gifted the star-crossed teen lovers.
Park City Opera’s recent production of Roméo et Juliette proved the case that this young, ambitious company has the mettle to stage these works with very satisfying results. There were many points of excellence: a solid slate of singers, most notably in the roles of Roméo and Friar Laurence; an orchestra which maximized the score’s it-factor most notably in the last two acts of the opera, and eight Ballet West II dancers who effectively communicated the interior monologues percolating in the characters.
From the prologue onward, which Michael Waldrop of Ballet West Academy choreographed, the eight dancers enriched the musical landscape Gounod had scoped out, especially with his extensive usage of 18th century style elements in the opening ball. The orchestra, led by Benjamin Beckman, artistic director, was marvelous in every act. One could pick out the surprising bits of chromaticism, for instance, which pop up in the third act when Mercutio and Tybalt are murdered.
The orchestra vividly delivered the romantic chemistry, with the most refined examples of fine composing that Gounod generously heaped upon the two lovers. Meanwhile, Waldrop’s choreography, especially with the danse de la fiancée and danse bohémienne, leveled up as well, matching Beckman’s skill at extracting all of the best bits from Gounod’s score which occasionally borders on being mere serviceable music. Lisl Wangermann directed the production.
The two lovers shined in the fourth and fifth acts, after they consummated their marriage. Patrick Bessenbacher as Roméo and Nicole Heinen as Juliette do justice to the second best of the love duets which appear in the opera. Dawn is about to break and the two debate whether the bird sounds they hear are coming from either a lark or nightingale. The fourth act also features the dancers but this act is all Juliette, who is shocked by her father’s news that she is to marry Paris (shades of bigamy?!).
Kevin Spooner’s Friar Laurence stands out in this act as well, as he instructs Juliette on the sleeping potion which will give the appearance that she has died. This is one of the most curious musical moments in the opera as Gounod introduces a thematic figure signifying the potion coupled with an impressive serene aria for the bass-baritone. It epitomizes the friar’s good intentions for Juliette’s sake. Heinen’s aria, which comes right before she consumes the potion, resonates with liberating heady feelings. The remainder of the act is musically interesting for the most part, notable for the chorus.
The final act crackles with some of Gounod’s best writing in this opera, especially the opening passage marking Juliette’s slumber and then the extended final love duet. Bessenbacher’s delicate arioso which echoes back momentarily to their earlier love duet ends exquisitely as the orchestra’s strings well up emotionally. The final scene hits with the right impact: Roméo’s somber farewell as the poison’s effects take over and the couple’s dying moments as they plead to God for forgiveness. Librettists Jules Barbier and Michel Carré veered from Shakespeare in scrapping the notions of the Capulet-Montague feud ending after the bodies of the teen lovers are discovered.
The more than 500 audience members in the Park City Eccles Center thoroughly enjoyed the opening performance. Opera is viable in this community and this young company merits greater support, especially in securing donations to fund the capability to stage the repertoire with operatic theater’s grander elements. Their next production in 2027 is Mozart’s The Magic Flute.