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A CurtainUp
Opera Review Review
I Capuleti e i Montecchi
Like the two larger New York conservatories, Mannes College of Music chooses
lesser-performed operas to showcase the vocal and instrumental talent of its
current students and recent graduates. Bellini's Capuleti e i Montecchi
shows up in the area about once a decade, usually in concert form, so this is
a welcome production.
CurtainUp readers should note that the story line of
Bellini's Capuleti follows Shakespeare's sources rather than the bard's
version in giving a prominent place to Juliet's betrothed, Tebaldo. Favorite
characters like Mercutio, Benvoglio, Lady Capulet and the Nurse are absent; so
in spite of the title "The Capulets and the Montagues", the plot is
concentrated on the rivalry of two men for the same woman. Except for
Lorenzo's place among the Capulet household rather than in a hermitage, the
events leading to the deaths of the two lovers are the same.
Gounod's Roméo
et Juliette, currently on view at the Metropolitan Opera, likewise follows
this schema rather than Shakespeare's. The recently rebuilt Dicapo Theatre is
ideal for an opera of this scale, with a stage large enough for an adequate
presentation but a hall that enables both singers and orchestra to make a
substantial presence. Unfortunately the pit allows only a reduced orchestra
complement, and Bellini's oboe and cymbals were sorely missed. In this age of
authenticity, however, the balance between the winds and strings in this setup
is closer to right sound for this opera.
John Norris has updated the action to a proto-facist era which still
maintained swords as the weapon of choice, but Campbell Baird's costumes make
it hard to identify which family the various thug/retainers belonged to
besides putting Giulietta back into the 1860s. While Mr. Norris generally
handles the small but mighty-voiced chorus well, he allows the principals to
resort to stock gestures at the more dramatic moments. Instead of profiting
from the musical structure to allow Romeo and Tebaldo to hurl insults at each
other across the full width of the stage, Mr. Norris has them jump immediately
to an otherwise admirably choreographed duel as would be effective in spoken
theater.
Greta Feeney demonstrates commitment as an ardent Giulietta but tends to sing
sharp in her higher register. Erin Callahan is believable in the trouser role
of Romeo, but her strong high notes are not matched by an unfocused center and
dropped bottom. Without adequate focus, neither she nor Brian Anderson, the
Tebaldo, can hope for a big career in spite of ample vocal production.
Conductor Gabriel Guimarães makes the tempi accommodate the needs of the
singers and instrumentalists in the ornamented passages, but the finale is
overly attenuated. A beautifully-played cello solo at the beginning of the
second act is noteworthy as are the clarinet duets. Mostly in recitative, two
small connecting scenes reinstated in this production give greater continuity
to the story line.
Gordona Svilar has created a serviceable unit scena per angolo that handily
suggested an outdoor courtyard framed by large, square pillars or an indoor
setting when sliding panels came into place. Marcia Madeira's lighting is a
plus.
Running time is about 2 hours and 30 minutes.
I Capuleti e i Montecchi
Music by Vincenzo Bellini (1830)
Libretto by Felice Romani
Music Director: Gabriel Guimarães
Stage Director: John Norris
Chorus Master: Pamela Gilmore
Set Designer: Gordona Svilar
Lighting Designer: Marcia Madeira
Costume Designer: Campbell Baird
Mannes College of Music
Dicapo Theatre, 184 E 76th St, New York City 212/288-9438
Romeo--Erin Callahan
Giulietta--Greta Feeney
Capellio--Young Bok Kim
Tebaldo--Brian Anderson
Lorenzo--Young Joo Lee
Men's and Women's Chorus
Presented from 3/15/98 to 3/21/98
Reviewed 3/17/98 by David Lipfert
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