Opera Theatre of Saint Louis is currently presenting an uncommonly compelling staging of Gounod’s luminous musical adaptation of Romeo and Juliet, performed in English, a key part of the branding of this fine company.
Musical and theatrical standards are stratospherically high and share equally in creating an unparalleled evening of impetuous love, rivalry, passion, and tragedy. To begin at the beginning: the opening chorus under the tutelage of Chorus Master Andrew Whitfield is some of the finest choral singing I have heard in any opera house anywhere. They were superb the whole night long. The coloring of the phrases, the immaculate diction, the dramatic subtext, all combined to set the bar very high for the evening, and that artistic objective never flagged. The nimble footed choristers also executed Seán Curran’s inventive choreography with aplomb.
The two star-crossed lovers were stars indeed. Emma Marhefka’s stunning Juliet eclipsed the memory of any other singer I have ever heard in the role. She is lithe and credibly youthful, her natural stage presence commands attention, and her silvery yet ample lyric soprano is a perfect fit for the demands of Gounod’s rangy writing. Ms. Marhefka’s radiant lyricism is complemented by a thorough embodiment of the dramatic arc of the young girl’s journey. Poised, polished, and potent, her thrilling account of the Poison Aria nearly stopped the show. There is likely not anyone in Operadom performing this role better right now.
She is masterfully partnered by an engrossing Romeo, as performed by an exciting young tenor, Leonardo Sánchez, whose impassioned, meaty outpourings accounted for some of the evening’s most goose-bump inducing highlights. Mr. Sánchez is blessed with the perfect physique du rôle for the young lover, appearing impetuously boyish, and suggesting Romeo’s naivete with some wonderfully suave and limpid lyric singing as he pursues his Juliet. That initial lyricism gave way to some thrilling steelier singing above the staff, that revealed a polished technique that was evenly matched throughout the registers. It must be said that Sánchez has a slight accent that impairs some words here and there. When he performs this again, and he must since it is a perfect fit, it will be in French and I would urge greater attention to the pronunciation. Small matter, his was a solid performance, and he and Ms. Marhefka were beautifully paired.
Nicholas Newton was tremendous as an imposing Friar Laurence, his sonorous bass-baritone ringing out in the house with ease and power. The youthful cast to his well-grounded instrument was reminiscent of Samuel Ramey just as he entered superstardom. Mr. Newton is decidedly an artist of a caliber that could follow that same trajectory. Imara Ashton’s lustrous mezzo-soprano was luxury casting in the role of Gertrude. Her lush phrases made me wish the composer had given her more to sing.
Benjamin Taylor proved to be an exceptionally fine Mercutio, his sizable, buzzy baritone contributing mightily to every scene he was in. He also regaled us with a particularly well-shaped and inventively acted Queen Mab aria. Veronica Siebert was really all one could wish for as a spunky, cocky Stephano, sporting a gleaming mezzo that was fleetly deployed, most especially in her stand-alone aria. Ms. Siebert made it the starry showpiece it can be when an artist is this accomplished. Micah Perry’s successful turn as Tybalt was well-served by his shining lyric tenor that was freely produced and admirably controlled.
Vinicius Costa brought a darkly reverberant bass to bear on the proceedings as a stately Lord Capulet. Cole Bellamy’s traversal as Paris showed off a pleasingly stentorian baritone of considerable heft. Edmond Rodriguez possessed an attractive, self-assured tenor as Benvolio, while Kevin Douglas Jasaitis created an impression as Gregorio, thanks to his warm and reliable baritone. Jason Edelstein did not have much stage time as the Duke of Verona, but he made it count thanks to his appealing, aristocratic baritone.
In tandem with the musicians from the Saint Louis Symphony, Ramón Tebar worked total magic in the pit. This was undoubtedly the very best rendition I have ever experienced of Gounod’s minor masterpiece. There are so many disparate elements to this score, but Maestro Tebar masterfully knit them all together into an overwhelming musical effect. The refulgent playing was remarkable in all sections of the orchestra, and the solo work was brilliant, but special mention must go to the haunting exposed passages for the celli, that alone were worth the price of admission.
Keturah Stickann’s direction was spot on, and she filled the stage with expansive pageantry one minute, romantic intimacy the next, and a bloody good sword fight to boot. In the last, she was ably assisted by fight choreographer Shaun Sheley, whose achievement was such that the audience gasped as (Spoiler Alert) Tybalt and Mercutio were slain. Ms. Stickann blocked the show with taste and variety, using every inch of the area to create well-motivated movement and honest character relationships.
Set Designer Liliana Duque Piñeiro created a gorgeous, yet simple playing space that featured a handsome brick and mortar back wall, with two floor-to-ceiling matching columns that were attached to platforms. Thanks to panels that opened up, sliding walls, and moveable wagons, these elements were admirably repositioned and repurposed to create the myriad locales required. With the simple addition of set pieces like the wedding bed and the funeral bier, Ms. Piñeiro ably provided all the elements necessary, all the while working within the limitations of the stage size at the Loretto Hilton.
It does not hurt that Eric Southern has lit all of this with his usual consummate skill and artistic invention. The atmospheric, moody overall palette was punctuated with any number of well-chosen specials that pointed out the fleeting moments of joy in the midst of tragedy. And the costumes! My word, the costumes! Robert Perdziola has provided a constant parade of glorious period wear that defines the word “luxurious.” He has also tellingly attired the two families in identifying colors, creating a highly meaningful blue state – red state divide. Krystal Balleza and Will Vicari completed the “look” with their always well-considered wig and makeup design.
This amazingly gorgeous, unutterably moving production of Romeo and Juliet defines what a festival-quality experience should be. A few performances remain, so hurry… they’re dying to meet you.
James Sohre
Romeo and Juliet
Music by Charles Gounod
Libretto by Jules Barbier and Michel Carré, based upon the play by William Shakespeare
Cast and Production Staff:
Tybalt: Micah Perry; Paris: Cole Bellamy; Lord Capulet: Vinicius Costa; Juliet: Emma Marhefka; Mercutio: Benjamin Taylor; Romeo: Leonardo Sánchez; Gertrude: Imara Ashton; Gregorio: Kevin Douglas Jasaitis; Friar Laurence: Nicholas Newton; Stephano: Veronica Siebert; Benvolio: Edmond Rodriguez; Duke of Verona: Jason Edelstein.
Conductor: Ramón Tebar; Director: Keturah Stickann; Set Designer: Liliana Duque Piñeiro; Costume Designer: Robert Perdziola; Lighting Designer: Eric Southern; Wig and Makeup Designers: Krystal Balleza, Will Vicari; Choreographer: Seán Curran; Fight Choreographer: Shaun Sheley; Chorus Master: Andrew Whitfield
All photos © Eric Woolsey