Search - Charles Gounod, Michel Plasson, Orchestre du Capitole de Toulouse :: Gounod - Roméo et Juliette / Alagna, Gheorghiu, van Dam, Keenlyside, Capitole de Toulouse, Plasson

Dramatic, Beautiful And Moving

Dolores Zoch | 02/16/2006

(5 out of 5 stars)

"ABOUT THIS RECORDING:



Roberto Alagna [Roméo] ** Angela Gheorghiu [Juliette] ** José van Dam [FrIAR Laurent] ** Marie-Ange Todorovitch [Stéphano] ** Simon Keenlyside [Mercutio] ** Alain Fondary [Capulet] ** Claire Larcher [Gertrude] ** Daniel Galvez Vallejo [Tybalt] ** Guy Flechter [Benvolio] ** Didier Henry [Pâris] ** Till Fecnher [Grégorio] ** Alain Vernhes [The Duke] ** Ch?ur et Orchestre du Capitole de Toulouse ** Michel Plasson



This is the last recording of Gounod's Romeo Et Juliette we are likely to see. From 2000-2001, this also is the soundtrack to the film version. The Shakespearean classic tale of doomed love and the power it had to reconcile two feuding families in Renaissance Verona, Italy was a moving theatrical work of opera earlier in the 20th century and most especially in the 19th century. Traditionally, the voices of Romeo and Juliet have been sung by lighter, lyric voices trained in the art of French opera, particularly the operas of Gounod. In a 60's recording we find a young Franco Corelli and Mirella Freni as the lovers and to me, these two have most convincingly sung the lovers with flawless vocal technique and dramatic abilities. In a mid 90's recording you have Placido Domingo and Ruth Anne Sweson. Another winner as Domingo and Swenson get into character and have the lyricism and French style so suited to the opera. This recording, however, thanks to the efforts of Plasson's Gaellic conducting and dramatic treatment of the score and the dramatic, vibrant and beautiful voices of the leads, we get another winner.



All opera lovers with the inside scoop know that Roberto Alagna and Angela Gheorghiu are real-life husband and wife. Singing the famous lovers Romeo and Juliette must have been a pleasure for them and a piece of cake. Their commitment to each other and to themselves as artists is evident and their chemistry is electric. I'm not a learned opera scholar or voice coach but I have to say they sound amazing and they really get into character, with perhaps just slightly more emphasis on the voice. They make beautiful music together. The duets in this opera are plenty and they are unbelievably beautiful, erotic, seductive, enchanting. The Balcony Scene Duet (O Leve Toi Soleil) and the Hymn To Night later on -after Juliet forgives Romeo for killing Tybald (Va Je Te Pardonne) are all exquisitely and dramatically sung. It is as if they are singing Puccini duets. Yes, Alagna and Gheorghiu sing with self-consciously dramatic voices and since we are living in a time where studio recordings no longer rely on natural voice alone, we can miss out on some natural singing that has passion. But for some reason, these two do have the passion in the voices and they sing with faultless musicianship and dramatic power. Gheorghiu is a consummate artist and sings all her roles well but her Juliette is a weird sort of scenario: Maria Callas singing Juliet in a big dramatic way but with some vulnerability and sweetness. I don't care for Gheorghiu especially for the reason she sounds like an unbeatable Maria Callas imitator. Alagna sings great but he is obviously influenced and nearly imitating Franco Corelli and another scenario: Pavarotti as Romeo ? He sings like Pavarotti at times. I don't like this recording more than the Domingo/Swenson version though. I feel Domingo and Swenson genuinely want to act more than just sing beautifully. But this one is lovely too.



Jose Van Dam sings Friar Laurence. He is amazing. The voice has not aged or gotten worse. It is rich, deep and saintly for the part. He has done a number of roles over the years and each time gets into character. Van Dam is still a terrific bass-baritone, able to sing such diverse repertoire as Mozart and Verdi. This is one of his best roles on recording. Simon Keenlyside, another Mozartian tenor, sings with great gusto and bravura as Mercutio. We genuinely feel for his tragic fate and he is not just a silly goofball. He's a tragic idealist/dreamer.



Great cast, strong performances, great music.

"