Romeo and Juliet, Minnesota Opera

Photo by Ken Howard

I went to the closing matinee of Romeo and Juliet at the Minnesota Opera. The opera was composed by Charles Gounod, with a libretto by Jules Barbier and Michel Carré. This specific production was directed by Matthew Ozawa, scenic design by William Boles, costumes by Sarah Bahr, and lighting by Paul Whitaker. The production was complemented with choreography by the James Sewell Ballet, intimacy direction Tom Ringberg, fight direction by Mason Tyer, and wig/hair/makeup by Priscilla Bruce. I list all these artists because the first thing you really notice when the opera starts is the set, costumes, wigs, choreography, lighting, and all the physical aspects of the staging. It was really beautiful. The stage is always an empty canvas for an artist, or a group of artists, to work with. This group did a fantastic job. A bare stage, floral motif, each family in their own color scheme, and these rectangular boxes that lowered along with cross-shaped daggers... just gorgeous.

Photo by Ken Howard

I think we all know the story of Romeo and Juliet. This opera, which premiered in 1867, puts that story to music, and get to the core of the story - the love story between the two main characters. There is very little focus on anything political, or the nurse's antics, etc. It starts with the families gathering on stage, the two leads meeting each other creating a wonderful tableaux during the overture prologue. It also sets the stage for the conflict between the two families. When the overture ends, it seems like we are right in the middle of it with Mercutio (the always amazing Charles H. Eaton) singing his aria about Queen Mab, and the crazy dreams she sends us. I would listen and watch Eaton in anything he wants to do. His voice is such a pleasure to listen to, and his acting choices are strong, and always appropriate to the character. After this wonderful work, we see Juliet in her famous aria from this opera - a light waltz "Je Veux Vivre" which was joy to listen to. Jasmine Habersham as Juliet had power, and strength, while also having the sweet childlike innocence to her. After all, these two characters are supposedly only in their mid-late teens.

Photo by Ken Howard

Soon we see Romeo (Evan Leroy Johnson) meet Juliet at the ball. The ball is an interesting sequence because from my understanding it is a party, but also a dance. It was a strong choice to have the chorus and leads mill around while dancers from the James Sewell Ballet performed some wonderful choreography towards the front of the stage. They were a joy to watch, and it made sense that a family like the Capulets would pay to have entertainment.

The lovers meet, they fall in love, Paris starts to cause trouble and so the Montague boys run away. Naturally Romeo lingers and eventually finds Juliets balcony. Also, naturally, Romeo and Juliet have a number of duets through out the opera. Johnson and Habersham were strong choices in casting, and in some ways despite their height difference, they worked together. Both voices were strong, and though I was not a fan of how the balcony scene was staged, it was still a wonderful scene musically and visually. The two young lovers decide to marry and we, the audience, get the joy of meeting and hearing Friar Laurence - Adam Lau. What a voice!! By now you know the rest of the story, and how it all ends tragically. 

Photo by Ken Howard

Musically this opera was a wonder to listen to. The leads all had such marvelous voices, but what really struck me about this work was the chorus. They were so strong and the music written for them was so gorgeous. It came across as such a switch-up between the quiet, intimate duets and arias sung by Romeo, Juliet, Mercutio, and then these large choral moments. What a wonderful work. While there were some choices both in staging and costuming that didn't work for me personally, the reaction of the rest of the audience showed me I was in the minority. I am totally fine with that because this was a beautiful production that if you get a chance to see, you really should.