Charles Gounod Roméo et Juliette CONDUCTOR Opera in five acts Plácido Domingo Libretto by Jules Barbier and Michel Carré PRODUCTION Guy Joosten Saturday, December 15, 2007, 1:00–4:20pm SET DESIGNER Johannes Leiacker COSTUME DESIGNER Jorge Jara LIGHTING DESIGNER David Cunningham The production of Roméo et Juliette is made possible by generous gifts from the CHOREOGRAPHER Gramma Fisher Foundation, Marshalltown, Iowa, Sean Curran and The Annenberg Foundation. Additional funding for this production was provided by Mr. and Mrs. Sid R. Bass, Hermione Foundation, Karen and Kevin Kennedy, Mr. and Mrs. William R. Miller, Bill Rollnick and Nancy Ellison Rollnick, and Mr. and Mrs. Ezra K. Zilkha. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2007-08 Season The 319th Metropolitan Opera performance of Charles Gounod’s This performance is broadcast live over The Toll Brothers– Roméo et Metropolitan Opera International Radio Network, Juliette sponsored by Toll Brothers, America’s luxury home builder®, Conductor with generous long- Plácido Domingo term support from The Annenberg IN ORDER OF VOCAL APPEARANCE Foundation and the Tybalt Friar Laurence Vincent A. Stabile Marc Heller Robert Lloyd Endowment Fund for Paris Stéphano Broadcast Media, Louis Otey Isabel Leonard and through contributions from Capulet Benvolio listeners worldwide. Charles Taylor Tony Stevenson Juliette The Duke of Verona This afternoon’s Anna Netrebko Dean Peterson performance is also being transmitted Mercutio live in high definition Nathan Gunn to movie theaters in the United States, Roméo Canada, and Europe, Roberto Alagna and broadcast live Gertrude on Metropolitan Jane Bunnell Opera Radio, on Sirius Satellite Radio Grégorio channel 85. David Won Saturday, December 15, 2007, 1:00–4:20pm Ken Howard/Metropolitan Opera Anna Netrebko Chorus Master Donald Palumbo as Juliette and Musical Preparation Joan Dornemann, Paul Nadler, Roberto Alagna Denise Massé, and Lydia Brown as Roméo in Assistant Stage Directors Valerie Kuinka and Gina Lapinski Gounod’s Roméo Fight Director Dale Anthony Girard et Juliette. Met Titles Cori Ellison Prompter Joan Dornemann Assistant to the Set Designer Michael Bachmann Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs executed by Metropolitan Opera Wig Department Masks by Barneys FX Makeup, Berlin, Germany Arndt von Diepenbroik, Berlin, Germany This performance is made possible in part by public funds from the New York State Council on the Arts. Before the performance begins, please switch off cell phones and other electronic devices. Classic Met broadcasts are available on demand at Rhapsody.com. Yamaha is the official piano of the Metropolitan Opera. Met Titles Latecomers will not be Met Titles are available for this performance in English, German, and admitted during the Spanish. To activate, press the red button to the right of the screen in performance. front of your seat and follow the instructions provided. To turn off the display, press the red button once again. If you have questions please Visit metopera.org ask an usher at intermission. Synopsis Verona, 14th century Prologue Act I A masked ball at the Capulet palace Act II Courtyard beneath Juliette’s balcony Act III SCENE 1 Friar Laurence’s cell SCENE 2 A street in Verona Intermission Act IV Juliette’s bedroom Act V Inside the Capulets’ tomb Prologue A chorus introduces the story of the endless feud between the Montague and Capulet families, and of the love of their children, Roméo and Juliette. Act I At a masked ball in the Capulet palace, Tybalt waits for his cousin Juliette and assures her suitor, Count Paris, that her beauty will overwhelm him. Capulet presents his daughter to the guests and invites them to dance. The crowd disperses and Roméo, a Montague, enters with his friends Mercutio and Benvolio. He tells them about a strange dream he has had, but Mercutio dismisses it as the work of the fairy Queen Mab (“Mab, reine des mensonges”). Roméo watches Juliette dance and is instantly entranced by her. Juliette explains to her nurse that she is not interested in marriage (“Je veux vivre”), but when Roméo approaches her, both feel that they are meant for each other. Just as they discover each other’s identity, Tybalt returns. Roméo masks himself and rushes off. Tybalt identifies the intruder as Montague’s son, but Capulet restrains him, ordering the party to continue. Act II Later that night, Roméo enters the Capulets’ garden, looking for Juliette (“Ah! lève-toi, soleil!”). When she steps out onto her balcony, he comes forward and 46 Synopsis continued declares his love. Servants briefly interrupt their encounter. Alone again, they vow to marry. Act III Roméo comes to Friar Laurence’s cell at daybreak, followed by Juliette and her nurse, Gertrude. Convinced of the strength of their love, the priest agrees to marry them, hoping that the union will end the fighting between their families. Outside Capulet’s house, Roméo’s page, Stéphano, sings a mocking song. This provokes a fight with several of the Capulets. Mercutio protects Stéphano and is challenged by Tybalt. Roméo appears and tries to make peace, asking Tybalt to forget about the hatred between their families, but when Tybalt kills Mercutio, Roméo stabs him. The Duke of Verona arrives, and both factions cry for justice. Roméo is banished from the city. Act IV Roméo and Juliette awake after their secret wedding night. She forgives him for killing one of her relatives, and after they have assured each other of their love, Roméo reluctantly leaves for exile (Duet: “Nuit d’hyménée”). Capulet enters and tells his daughter that she must marry Paris that same day. She is left alone, desperate, with Friar Laurence, who gives her a sleeping potion that will make her appear dead. He promises that she will wake with Roméo beside her. Juliette drinks the potion (“Amour, ranime mon courage”). When Capulet and the guests arrive to lead her to the chapel, she collapses. Act V When Roméo arrives at the Capulets’ crypt and discovers Juliette, he believes her to be dead and drinks poison. At that moment, she awakens, and the lovers share a final dream of a future together. As Roméo grows weaker, Juliette takes a dagger from his belt and stabs herself. The lovers die praying for God’s forgiveness. Visit metopera.org 49 A holiday feast for the entire family! Sung in English, this new production is perfect for children 8 and older (and 7-year-olds who aren’t afraid of the dark). Be a part of New York’s newest tradition— a holiday opera at the Met. Humperdinck HANSEL and GRETEL NEW PRODUCTION Only 9 chances to see it this season. December 24 (matinee), 29 (matinee), January 1 (matinee), 4 (matinee), 8, 11, 23, 26, 31 Composite photo: Nick Heavican/Metropolitan Opera; Schäfer photo: Anne Deniau/Metropolitan Opera Visit metopera.org or call (212) 362-6000 Listen to Metropolitan Opera Radio 24/7 for casting information and ticket availability. on Sirius In Focus Charles Gounod Roméo et Juliette Premiere: Théâtre Lyrique, Paris, 1867 Roméo et Juliette, perhaps the most enduringly successful of the many operatic settings of the world’s consummate love story, is sophisticated, intelligently wrought, and ravishingly beautiful. It is an excellent example of French Romanticism, a tradition that values subtlety, sensuality, and graceful vocal delivery over showy effects, and the music provides a powerful dramatic vehicle worthy of its Shakespearean source. In the opera there is a slight shift of focus away from the word games of the original play and a greater focus on the two lovers, who are given four irresistible duets. Some readjustment of plot was necessary to allow for this (the lovers have a brief final reunion in the tomb scene, for example, which does not appear in the original). But audiences have been well compensated for these minor infractions against Shakespeare. The Setting Italy, during Shakespeare’s lifetime, was a land of many small city-states in constant warfare with one another. The blood feud between families that is at the core of this story, set in the ancient city of Verona, was a central feature of Italian political and social life during this time. Yet this same war-scarred land was also the cradle of the Renaissance, with its astounding explosion of art and science. The image that this mythical Verona evokes, then, is a beautiful but dangerous world where poetry or violence might erupt at any moment. The Creators Frenchman Charles Gounod (1818–1893) was celebrated as a composer of operas and religious music, and his two most successful operas, Roméo et Juliette and Faust, continue to seduce audiences with their sumptuous, unpretentious style, which allows singers to reveal their artistry in a direct and dazzling way. Jules Barbier (1825–1901) and Michel Carré (1821–1872) were the most highly regarded librettists of their time in France, providing the libretti for many other successful works, including Faust and Jacques Offenbach’s Les Contes d’Hoffmann. The plays of William Shakespeare (1564–1616) have provided an abundance of material for such diverse opera composers as Giuseppe Verdi, Benjamin Britten, Gioachino Rossini, Samuel Barber, Thomas Adès, and even Richard Wagner (whose youthful work from 1836, Das Liebesverbot, is based on Measure for Measure). 51 In Focus continued The Music Gounod infuses this classic drama with an elegant musical aura that reflects the soaring poetry of the original. A solo flute sets a fragile and painfully beautiful mood in the prelude to the bedroom scene in Act IV. When Gounod explores the darker and more violent side of the story, his music creates drama without resorting to bombast. A reserved melancholy creates all the necessary tension.