OCP's "Roméo et Juliette' (2nd review)

Warring factions square off against each other at the Academy of Music. Not the Capulets and the Montagues, mind you, but the critics.

The Opera Company's new production of Gounod's Roméo et Juliette is radically contemporary, and reactions to it are sharply divided. Some of the response apparently has to do with which day of the week you attended.

On the opening Friday night, when the house was heavily skewed with professionals and sophisticates, the Inquirer's David Patrick Stearns reported a "tepid response" from a "marginally-engaged audience." Others tell me they heard booing when director Manfred Schweigkofler took his bow.

Schweigkofler's concept is contemporary warfare between two fashion houses. The action could take place in Manhattan or in Italy. Juliette is the teenage model for the House of Capulet, where her father is the head designer. Like many fashion models, Juliette looks like a teenager and acts impetuously"“ which is perfectly in synch with Shakespeare's intentions.

Instead of a ball with dancing, the Capulet party features a bevy of tall and willowy models parading in dazzling outfits designed for this production by students at Drexel University, Moore College of Art and Design, and Philadelphia University.

No condescending laughter

That may have been too much for Friday night's audience, but Sunday afternoon I observed an enthusiastic reaction from a younger, hipper and presumably less persnickety audience, as well as at least one jaded opera lover: me. The Sunday crowd got so caught up in the story that we failed to laugh condescendingly"“ as Friday night's crowd did"“ when Juliet drank her potion from a wine glass rather than Shakespeare's traditional vial.

The opera's most controversial departure from tradition occurred when Juliet collapsed during her wedding to Paris. Photographers (obviously hired by the Capulet family, not uninvited paparazzi) snapped pictures; then newsboys ran through the aisles of the Academy hawking papers with headlines about the "Juliet tragedy."

Translating a play into a musical necessitates eliminating dialogue. That puts extra emphasis on the passages that remain— underlined with poignant music— and shines more of a spotlight on the title characters. Fortunately, this production was blessed with the young and talented soprano Ailyn Pérez and her real-life husband, tenor Stephen Costello, in the title roles.

Juliette as celebrity

Because of this production's concept, unusual prominence was given to Juliette as the celebrity cynosure of everyone's dreams. Pérez captured that persona, with swagger and glamour. Her voice possesses coloratura brightness (she was an excellent Lucia while a student at the Academy of Vocal Arts) and more rich color than ever before.

Costello delivered the type of solid performance that has earned him major roles at the Met, where he will be the leading tenor in the opening night's new production of Anna Bolena. In a company with many other young tenors, Costello has a solid voice that retains its character no matter where he may be on the scale. It's a bit baritonal, reminiscent of Placido Domingo's sound. On top of that, Costello employs stylish diminuendos and graceful, classy phrasing.

Among the supporting cast, the standout was the tall, silver-haired baritone Daniel Mobbs as Capulet. Mobbs looked every bit his part in an elegant long coat, and strongly projected his music. Conductor Jacques Lacombe displayed a good feel for the piece's style and kept the pace moving nicely, especially in the final scene, where other performances have bogged down.

The OCP's presentation offered excellent singing and orchestral playing, and its razzmatazz staging lent freshness and excitement without doing harm to the story.♦


To read another review by Robert Zaller, click here.
To read a related comment by Diana Burgwyn, click here.