Since Romeo and Juliet is arguably the worlds most famous love story, and the Opéra de Montréal production makes no grand attempts at re-interpreting Gounod’s work, there is no real need to summarize the tale of the star-crossed lovers. Let us jump directly to the unexpected announcement on opening night; opera goers were informed via loudspeaker that our Juliet (Marie-Ève Munger, Soprano) was indisposed, but would be performing the lead role nonetheless. Though I do feel I could hear a certain restraint in her voice, had this announcement not been made, I likely would have been none the wiser.
Thankfully, Romeo (Ismael Jordi, Tenor), Friar Laurence (Alain Coulombe, Bass), and the abundant cast of Montagues and Capulets, rose to the occasion to fill Salle Wilfrid-Pelletier with this story of woe.
Though traditional, the stage was lavishly set, and I must bring special attention to the costumes. Giving each house a colour, may not be inventive (my ten year old correctly assumed blue and red based specifically on his knowledge of the animated feature “Gnomeo and Juliet”), it is incredibly effective. With two warring families comprised of forty-six choristers, visual cues go a long way to keeping audience members on track. So many OdM productions have been set in the renaissance, and I must say I had found the costumes have begun to look tired and dull. Claude Girard did an excellent job of breathing life into the entire cast with the bold hues and fresh looking garments.
I would also be remiss if I didn’t mention the stage direction was not up to the usual standards. There are times when those around you submit their opinions of a production in the purest form. In this case, it was with laughter. At several points during this tragedy a giggle or two could be heard resonating in the dark, and one moment in particular caused an audience-wide guffaw. These moments were clearly not intended to elicit such a reaction, and certainly broke the spell for those of us willing to brush past the hints of absurdity. Such direct feedback should not be ignored for future engagements.
Thankfully, with the masked ball, the sword fights, the serenades, the sixty-four performers, and the talented orchestra, the production remained rich regardless of a few weak notes.
Photo Credit : Yves Renaud
