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Before Berlioz was Berlioz
Orchestra's "Roméo et Juliette'
Steve Cohen
Roméo et Juliette was a groundbreaking composition early in Berlioz’s career. Although he called it a "symphonie dramatique," it’s more like an opera with a small cast, large chorus and orchestra but neither scenery nor stage action. It was a radically new form, composed before the operas and music-dramas of Verdi and Wagner, expanding the role of a virtuosic orchestra in the telling of a story.
Keep in mind that Berlioz composed Roméo et Juliette in 1839, the same year as Verdi’s first opera, the relatively primitive Oberto. Wagner had written only one unsuccessful opera when he attended a performance of this Roméo et Juliette and it’s clear that he was influenced by Berlioz, particularly in Tristan und Isolde.
Charles Dutoit, beginning his tenure as the Philadelphia Orchestra’s chief conductor, says he wants to survey Berlioz’s orchestral and vocal music during the next few years, and this is a good place to start.
Innovative as it may be, Roméo et Juliette has its flaws. The two lovers don’t get to sing; instead, the chorus tells us what Roméo and Juliet are thinking, feeling and doing. Then comes a stunning finale in which Friar Laurence talks directly to the warring families and Berlioz surpasses himself with a passionate closing scene.
The Friar Laurence is David Wilson-Johnson, a balding, middle-aged Englishman who is a master of French vocalism. Wilson-Johnson enunciates clearly, placing his tones high in the frontal facial mask, achieving a resonance that native Frenchmen should envy. He projects distinct diphthongs and colors the words intensely.
The other two soloists are mezzo-soprano Ruxandra Donose, whose black-and-white gown and cape were more stunning than her voice on this occasion, and tenor Gregory Kunde, who fulfilled his smallish duties effectively. The 125-person Philadelphia Singers Chorale was well trained by its music director, David Hayes.
Interesting logistics were employed for the chorus. Some of the chorus members occupied the rear of the stage, while the majority sat quietly in the balcony behind the stage. For the finale, the smaller group went up to join the other singers in the balcony.
The Philadelphia Orchestra has performed the complete Roméo et Juliette only twice in its history, in 1982 and 1986 under Riccardo Muti. Its playing was lovely and expert, especially in the Queen Mab Scherzo, Juliet’s funeral and the finale.
The Orchestra’s lush tone, on the other hand, lacked the specific texture and Gallic sonic color that the piece asks for. That may be due to the fact that, alone among America’s Big Five orchestras, the Philadelphians have never before had a French music director. Dutoit, of course, is French and is an experienced hand with French music. By the next time this orchestra plays Berlioz with him, the sound should be more distinctive.
Keep in mind that Berlioz composed Roméo et Juliette in 1839, the same year as Verdi’s first opera, the relatively primitive Oberto. Wagner had written only one unsuccessful opera when he attended a performance of this Roméo et Juliette and it’s clear that he was influenced by Berlioz, particularly in Tristan und Isolde.
Charles Dutoit, beginning his tenure as the Philadelphia Orchestra’s chief conductor, says he wants to survey Berlioz’s orchestral and vocal music during the next few years, and this is a good place to start.
Innovative as it may be, Roméo et Juliette has its flaws. The two lovers don’t get to sing; instead, the chorus tells us what Roméo and Juliet are thinking, feeling and doing. Then comes a stunning finale in which Friar Laurence talks directly to the warring families and Berlioz surpasses himself with a passionate closing scene.
The Friar Laurence is David Wilson-Johnson, a balding, middle-aged Englishman who is a master of French vocalism. Wilson-Johnson enunciates clearly, placing his tones high in the frontal facial mask, achieving a resonance that native Frenchmen should envy. He projects distinct diphthongs and colors the words intensely.
The other two soloists are mezzo-soprano Ruxandra Donose, whose black-and-white gown and cape were more stunning than her voice on this occasion, and tenor Gregory Kunde, who fulfilled his smallish duties effectively. The 125-person Philadelphia Singers Chorale was well trained by its music director, David Hayes.
Interesting logistics were employed for the chorus. Some of the chorus members occupied the rear of the stage, while the majority sat quietly in the balcony behind the stage. For the finale, the smaller group went up to join the other singers in the balcony.
The Philadelphia Orchestra has performed the complete Roméo et Juliette only twice in its history, in 1982 and 1986 under Riccardo Muti. Its playing was lovely and expert, especially in the Queen Mab Scherzo, Juliet’s funeral and the finale.
The Orchestra’s lush tone, on the other hand, lacked the specific texture and Gallic sonic color that the piece asks for. That may be due to the fact that, alone among America’s Big Five orchestras, the Philadelphians have never before had a French music director. Dutoit, of course, is French and is an experienced hand with French music. By the next time this orchestra plays Berlioz with him, the sound should be more distinctive.
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