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Roméo et Julietteby Charles GounodSung in French, with projected English supertitles
Friday, February 27, 2004 8:00 p.m.
Set Design by Jay Kotcher
Lighting Design by Kurt Landisman
Costumes Coordinated by Gaea Bailey
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Community Center Theatre
One night two young people meet and fall tragically in love, as two great families try to destroy each other. Taken from one of Shakespeare's greatest dramas, the opera brings to life the tale of an age old feud between two noble families, the Capulets and the Montagues, and the two star-crossed lovers caught in between. Considered one of Gounod's best works for the lyric theater, the opera was written eight years after Faust, which Sacramento Opera recently produced to critical acclaim. This production is a revival of the Opera's popular 1992 production designed by Sacramento's own Jay Kotcher. Roméo et Juliette pits youthful hope against deep-rooted prejudice and intolerance, which erupts in fresh conflict one hot Italian summer. With the Sacramento Opera Chorus and the Sacramento Philharmonic Orchestra
Stage Director: Gary Briggle
Cast:
Cast Biographies:
Roméo et Juliette - Synopsis Charles Gounod
1867
Opera in five acts. Music by Gounod, libretto by Jules Barbier and Michel Carré, after the Shakespeare play 'Romeo and Juliet' (1594). First performed Paris, 27 Apr 1867.
ACT I: At a masked ball at the Capulet palace, Juliette's (soprano) arrival is eagerly awaited by her cousin Tybalt (tenor) and her suitor Paris. Capulet presents his daughter, the revelers exclaim at her beauty, and Juliette rhapsodizes on her joy. The host leads his guests off just as Roméo (tenor), a Montague, and his friends, all masked, steal into the ballroom intent on provoking a fight. Roméo has dreamed the night before, and Mercutio (baritone), one of his companions, launches into a song about Queen Mab, the mistress of dreams. Suddenly Roméo sees Juliette at a distance. As she waltzes around the room, singing of the freedom of youth, Roméo shyly approaches her, asking if his hand may touch hers. Tybalt returns just as Juliette tells her name to Roméo, who masks himself and rushes off. Tybalt identifies the intruder as Montague's son, but Capulet restrains him, ordering the party to continue. ACT II Later that night, Roméo hides until Mercutio and other friends stop calling for him. Then he apostrophizes Juliette as the sun, the purest, brightest star. The girl steps forth on her balcony to lament her attraction for an enemy, and Roméo comes forward. The two ecstatically pledge their love but are interrupted by some Capulets searching for a Montague page. Then Roméo and Juliette tenderly bid each other good night. At Friar Laurence's (bass) cell, Roméo appears at daybreak, followed by Juliette and her nurse, Gertrude. The priest agrees to marry the young lovers in the hope that their union will end the feud between their families. Outside Capulet's house, Roméo's page, Stéphano, sings a mocking song, which provokes a fight with Gregorio and other Capulet retainers. Mercutio protects Stéphano and is challenged by Tybalt, who insults Roméo when he tries to make peace. Mercutio duels Tybalt to defend the Montague honor and is slain, whereupon Roméo kills Tybalt. The Duke of Verona stops the bloodshed, banishing Roméo from the city. ACT III At dawn in Juliette's bedroom, the lovers exchange words of adoration before Roméo reluctantly leaves for exile. Capulet and Friar Laurence greet Juliette with news that she is to wed Paris that very day, but the priest gives her a sleeping potion that will make her appear dead. He promises that she will wake with Roméo beside her. Juliette drinks the potion, and when Capulet and the others arrive to lead her to the church, she collapses. In a gloomy tomb, Roméo soliloquizes on his beloved Juliette, whom he believes dead. In despair he takes poison, only to see Juliette awaken. They hail a new life, but Roméo soon falters. He bids farewell to the frantic girl, who grasps his dagger and stabs herself. The lovers die praying for God's forgiveness. Synopsis courtesy of Opera News |
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Soprano Marnie Breckenridge has appeared in principal roles with the San Francisco Opera, Arizona Opera, Nevada Opera, Brazilian Opera Society (Sao Paolo), and the Israeli Vocal Arts (Tel Aviv). Regionally, her performances have earned her critical acclaim and the prestigious Bay Area Theatre Critics Circle Award for Best Actress, having appeared with Diablo Light Opera, San Francisco Lyric Opera, North Bay Opera, the Jarvis Institute and Fresno Philharmonic. Upcoming she sings two important role debuts, Gilda in Rigoletto with Festival Opera and the title role in Lucia di Lamermoor at West Bay Opera. Juliette marks Ms. Breckenridge's debut with Sacramento Opera.
Tenor Robert McPherson has been hailed for his "honesty, clarity and sweet lyricism" and is best known for his masterful interpretations of Rossini and Mozart. He has sung his signature role, Count Almaviva (Il Barbiere de Siviglia), in Memphis, Greensboro (NC), and Santa Barbara. In addition, he has performed such roles as Don Ramiro (La Cenerentola), Lindoro (L'Italiana in Algeri), Ferrando (Cosi fan tutte), Don Ottavio (Don Giovanni), Tamino (Die Zauberflote) and Stravinsky's Tom Rakewell (The Rake's Progress) with Pacific Opera Victoria, Opera San José, Tacoma Opera, Eugene Opera, and Spokane Opera. Mr. McPherson will make his Sacramento Opera début in the role of Roméo.