"ROMEO AND JULIET"

Dominion, Volume 13, Issue 92, 13 January 1920, Page 6

"ROMEO AND JULIET"

GOUNOD'S BEAUTIFUL OPERA REVIVED "Romeo and Juliet," a grand opera in five acts, by Charles Gounod. Lyrics by Jules Barbier and Michel Carre. English version by 11. 13. Farnie. Cast of characters:— Romeo Italpli Errollo Mercutio Carl Formes Friar Lawrence Alfrcdiv Valcnti Capulct Fred Collier Tybalt Browning Jlummery lienvolio ... Charles . Mettam Grcgorio Tom Minogue Paris .. Itoy Dunn The Duke of Verona-... William Flamiieau Stephano Leah Myers Gertrude Vera Bedford Juliet Amy Castles "Romeo ami Juliet" was composed by, Charles Gounod 'when he was 19 years of uge, and was first produced in Paris on April Ft, 1867, or seven years later than "Faust," which had given him a hall-mark in the operatic world. In between he had composed "La Heine du Saba," "Mirelle," and. "La Colombo" (known in England as '"The Pet Dove"), so that Gounod -must have been fairly industrious, and ho is moro fortunate than many composers of his time in that his works have the quality of endurance. It is true that "liomeo and Juliet," presented last evening by the Williamson Grand Opera Company, has only been heard once before in Wellington, but that is no criterion whatever. The. nntsie, voluptuously florid in character, and always brilliantly melodious, rythmical, and uninvolvcd, is frequently revived in Paris, London, New York, and even iu Germany, as travelled opera-lovers are aware, and ranks almost, in point of popularity, with the same composer'* "Faust." In "Romeo and Juliet," ono cannot but help being struck with tho fact tliat Gounod was a superb master of orchestration—iii musicianship a seventh sense. There is the same mystic, or perhaps a better word wjuld be psychological. element in the character of th- music as in "Faust," rubbing shoulders, so to speak, with tho 'sensuous Iwautv of many of the melodies. Possibly no other composer of his day could linyc treated Shakespeare's tragedy so effectively. Puccini to-day might make a success of it, bull it would bo an opera of very different musical form from that of Gounod's. In its construction the plot of tho opera fairly closely follows the argu-. ment of ShakeSDcnre's tragedy. Instead, however, of its beginning with the brawl between the Montagues and the Capulets, the opera commences at . tho ball scene in the House of Capulct. presented initially in tableau form. Thither Romra, masked, repairs seeking the fair Juliet, but Tybalt penetrates his disguise, and a duel there and then is prevented by tho intervention of old Capulet. The balcony scene follows, very beautifully and romantically scored, and is succeeded by a notable scene in Friar Lawrence's cell, where secretly the pair are married. The duel between Romeo and the fiery Tybalt follows, and to' escape its consequences Romeo has to fly from Verona. Before leaving, l'omco and Juliet meet blissfully once more. Old Capulet, sacking to wed his daughter to Pans, drives tho young br'de to distraction. She seeks guidance from Father Lawrence, who gives her a phial containing a potion, which, on being taken, gives tho semblance of death, without causing harm, the arrangement being that Romeo shall bo' instructed secretly to repair to the vaults of tlio Capulels at the time Juliet is due to shake off the effects of the drug. In the opera Juliet takes the potion and .swoons a.way in her own loom. Romeo before receiving Father Lawrence's message, hears of Juliet's death, and renairs lo her tomb. There finding her. as he believes, "cold marble," ho noisons himself. Juliet awakens from her lons trance only to find her loverhusband dying, and learning what has hannened. resolves to die, too, and seizing Romeo's dagger she plunges it into her > breast. The "final act is sacred to the lovers. .No County Paris intrudes to tisht with Romeo—no watchmen come and go—only the essence of the tragio finale lo tho romance is retained in tho onera. the treatment of which is exceedingly beautiful, particularly as regards the orchestration, which reaches an inspiring plane. To achieve the ideal cast for such & work one would have to repair to New York or London during the season, and sn much of the romance of the story and beantv of the music depends on the cast that one can only regret that ideals are mnstlv dreams. Miss Amy Castles sans the music of Juliet with unassuminn Brace and truth. Her treatment of the daintv waltz song (and the sustained cadenza at its close) was delicate and charmiiiEr to a degree. She was also heard to fine effect in the balcony scene, particularly in the madrigal with Romeo, "0 Shrine of Beauty," in tho trio of much worth. "0 Smile, Fair Heaven, Uoon This "Marriage," in which an ininressive bass solo is linked up with a simple duet sung by Romeo and Juliet before the holv'man; and again Miss Castle's liquid notes rang sweet and true in the duet, 'Ves, I Pardon Thee." The last a?t is the scena and duet, commencing with Romeo's solo, ""Pis There, AH Hail, 0 Tomb," in which the tenor (Mr. Ralph Krrolle) was as often as not off true pitch. In appearance Mr. Errolle is as gallant - a Romeo as one could wish, but ha has apparently an incurable weakness respecting pi ich, which afl'ects many scenes he is connected with, and to the musical, robs them of a great deal of interest. In tho use of the niezza voce, he sings delightfully at times, but when using to the full power his penetrating "reedy" organ, lie loses iu artistic etlcct. His acting in the dual scene with lybalt, and in tho death scene, was quite good. Incidentally, Romeo is one of the greatest tenor roles in the domain ot grand opera, and to satisfy completely the part must be really well, sung as well as acted. Outside the two leads tne performance was notable for some excellent work. 1 Mr. Alfredo Yalenti made an impressive Friar Lawrence, and sang tho solo iu the trio with line effect. He also sang well in the potion scene Mr. Fred. Collier maintained his reputation for good work by giving a real picairo of old Capulet. His make-up was ex- ■ cellent, his acting had all Hie genial dignity demanded, and Jio sang tlio music with a vigour and meaning altogether enlivening. Mr. Colliers work throughout the season stands among l ie very best-lie deserves to succocd in the new field of vocal art he has entered. Mr. Browning Mummery s fine robust tenor was heard in Tybalts music; Mi. Carl Formes was Jlereutio (wuh tho famous Queen Slab's speech set to a curious lilt): Mr. Chas. Mettam was Denvolio, and Mr. 'lom Minogue (uegorio. Miss Leah Myers sang the page a solig (an ironic serenade) with distinction and humour, and Miss Vera Bedford sufficed as Gertrude (the nurse). The opera depends to an extraordinary decree on its amazingly bcaulitul orchestration, with its clever and olten impressive flights ot involved counteipoint illumined with brilliant melody right through. To Mr. Gustavo Slapofl'ski is duo much of the success attained last evening. His spirit and interpretive seiwe have accounted for a great deal of the success of the season now drawing to a close. This evening '"The Tales of lloliman will he presented a third time, and tomorrow the season will close with another performance of Puccini's ''Madame Butterfly."