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For more information about Gounod's Roméo et Juliette adaptation, download An Irreverent Guide for ENJOYING: Charles Gounod's ROMÉO et JULIETTE by clicking here: An Irreverent Guide.
PROLOGUE. Verona, fourteenth century. A chorus chants of the feud between the Montagues and the Capulets and of their children, the star-crossed lovers Roméo and Juliette.
ACT I. At a masked ball at the Capulet palace, Juliette's arrival is eagerly awaited by her cousin Tybalt and her suitor Paris. Capulet presents his daughter, the revelers exclaim at her beauty, and Juliette rhapsodizes on her joy. The host leads his guests off just as Roméo, a Montague, and his friends, all masked, steal into the ballroom intent on provoking a fight. Roméo has dreamed the night before, and Mercutio, one of his companions, launches into a song about Queen Mab, the mistress of dreams. Suddenly Roméo sees Juliette at a distance. As she waltzes around the room, singing of the freedom of youth, Roméo shyly approaches her, asking if his hand may touch hers. Tybalt returns just as Juliette tells her name to Roméo, who 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 hides until Mercutio and other friends stop calling for him. Then he apostrophizes Juliette as the sun, the purest, brightest star. The girl steps forth on her balcony to lament her attraction for an enemy, and Roméo comes forward. The two ecstatically pledge their love but are interrupted by some Capulets searching for a Montague page. Then Roméo and Juliette tenderly bid each other good night.
ACT III. At Friar Laurence's cell, Roméo appears at daybreak, followed by Juliette and her nurse, Gertrude. The priest agrees to marry the young lovers in the hope that their union will end the feud between their families. Outside Capulet's house, Roméo's page, Stéphano, sings a mocking song, which provokes a fight with Gregorio and other Capulet retainers. Mercutio protects Stéphano and is challenged by Tybalt, who insults Roméo when he tries to make peace. Mercutio duels Tybalt to defend the Montague honor and is slain, whereupon Roméo kills Tybalt. The Duke of Verona stops the bloodshed, banishing Roméo from the city.
ACT IV. At dawn in Juliette's bedroom, the lovers exchange words of adoration before Roméo reluctantly leaves for exile. Capulet and Friar Laurence greet Juliette with news that she is to wed Paris that very day, but the priest 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, and when Capulet and the others arrive to lead her to the church, she collapses.
ACT V. In a gloomy tomb, Roméo soliloquizes on his beloved Juliette, whom he believes dead. In despair he takes poison, only to see Juliette awaken. They hail a new life, but Roméo soon falters. He bids farewell to the frantic girl, who grasps his dagger and stabs herself. The lovers die praying for God's forgiveness.
– courtesy of Opera News
ACT I. At a masked ball at the Capulet palace, Juliette's arrival is eagerly awaited by her cousin Tybalt and her suitor Paris. Capulet presents his daughter, the revelers exclaim at her beauty, and Juliette rhapsodizes on her joy. The host leads his guests off just as Roméo, a Montague, and his friends, all masked, steal into the ballroom intent on provoking a fight. Roméo has dreamed the night before, and Mercutio, one of his companions, launches into a song about Queen Mab, the mistress of dreams. Suddenly Roméo sees Juliette at a distance. As she waltzes around the room, singing of the freedom of youth, Roméo shyly approaches her, asking if his hand may touch hers. Tybalt returns just as Juliette tells her name to Roméo, who 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 hides until Mercutio and other friends stop calling for him. Then he apostrophizes Juliette as the sun, the purest, brightest star. The girl steps forth on her balcony to lament her attraction for an enemy, and Roméo comes forward. The two ecstatically pledge their love but are interrupted by some Capulets searching for a Montague page. Then Roméo and Juliette tenderly bid each other good night.
ACT III. At Friar Laurence's cell, Roméo appears at daybreak, followed by Juliette and her nurse, Gertrude. The priest agrees to marry the young lovers in the hope that their union will end the feud between their families. Outside Capulet's house, Roméo's page, Stéphano, sings a mocking song, which provokes a fight with Gregorio and other Capulet retainers. Mercutio protects Stéphano and is challenged by Tybalt, who insults Roméo when he tries to make peace. Mercutio duels Tybalt to defend the Montague honor and is slain, whereupon Roméo kills Tybalt. The Duke of Verona stops the bloodshed, banishing Roméo from the city.
ACT IV. At dawn in Juliette's bedroom, the lovers exchange words of adoration before Roméo reluctantly leaves for exile. Capulet and Friar Laurence greet Juliette with news that she is to wed Paris that very day, but the priest 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, and when Capulet and the others arrive to lead her to the church, she collapses.
ACT V. In a gloomy tomb, Roméo soliloquizes on his beloved Juliette, whom he believes dead. In despair he takes poison, only to see Juliette awaken. They hail a new life, but Roméo soon falters. He bids farewell to the frantic girl, who grasps his dagger and stabs herself. The lovers die praying for God's forgiveness.
– courtesy of Opera News
Angela Gheorgiu, Roberto Alagna, Jose Van Dam, Simon Keenlyside.
Toulouse Capitole Orchestra et Choeur, Michel Plasson. EMI Classics (3 discs/enhanced CD).
This is probably the best complete modern recording of Romeo: it offers the best combination of singing and style since the 1912 Paris recording under Ruhlmann - and it's uncut. Performances by the leads, husband-and-wife team Roberto Alagna and Angela Gheorghiu, are stunning in their clarity and emotion. Conductor Michel Plasson evokes an excellent performance from his orchestra and choir as well as his featured singers—especially the Frere Laurent of Jose Van Dam. For the computer savvy, there's a real treat if you pop a disc into your CD-ROM drive: This "Enhanced CD" explores the history of the story and its adaptation. It also includes biographies of the composer, cast and librettists and a libretto that scrolls in synch with the audio portion of the CD. There is also a highlights version available.
For the full list of recommended recordings visit Chad's Choice.
Toulouse Capitole Orchestra et Choeur, Michel Plasson. EMI Classics (3 discs/enhanced CD).
This is probably the best complete modern recording of Romeo: it offers the best combination of singing and style since the 1912 Paris recording under Ruhlmann - and it's uncut. Performances by the leads, husband-and-wife team Roberto Alagna and Angela Gheorghiu, are stunning in their clarity and emotion. Conductor Michel Plasson evokes an excellent performance from his orchestra and choir as well as his featured singers—especially the Frere Laurent of Jose Van Dam. For the computer savvy, there's a real treat if you pop a disc into your CD-ROM drive: This "Enhanced CD" explores the history of the story and its adaptation. It also includes biographies of the composer, cast and librettists and a libretto that scrolls in synch with the audio portion of the CD. There is also a highlights version available.
For the full list of recommended recordings visit Chad's Choice.
Charles Gounod (1818-1893)
Gounod was born in Paris on June 18, 1818. His mother, a local piano teacher, introduced him to music and later inspired him to attend the Paris Conservatoire. After completing his studies in Paris, Gounod traveled to Italy in 1838 and was influenced by the music of Schumann and Berlioz. One year later, he won the Prix de Rome for his cantata Fernand.
Throughout his life, Gounod remained fascinated with religious music, especially 16th century polyphonic music. In 1843, he returned to Paris and took the position as organist of Mission Etrangères. Later that year he wrote the mass "Messe Sollennelle," which launched his reputation as a noteworthy composer.
In 1851, Gounod wrote his first opera Sapho (1851), but it wasn't until 8 years later when Gounod was recognized for his first great opera, Faust. However, the Franco-Prussian War of 1870 and his move to England brought about an unprofitable interruption to his fame.
By his death in 1893, Gounod had completed 12 operas, including Mireille (1864) and Romeo et Juliette (1867), yet it was his fascination with liturgical music that inspired him to the end.
Gounod was born in Paris on June 18, 1818. His mother, a local piano teacher, introduced him to music and later inspired him to attend the Paris Conservatoire. After completing his studies in Paris, Gounod traveled to Italy in 1838 and was influenced by the music of Schumann and Berlioz. One year later, he won the Prix de Rome for his cantata Fernand.
Throughout his life, Gounod remained fascinated with religious music, especially 16th century polyphonic music. In 1843, he returned to Paris and took the position as organist of Mission Etrangères. Later that year he wrote the mass "Messe Sollennelle," which launched his reputation as a noteworthy composer.
In 1851, Gounod wrote his first opera Sapho (1851), but it wasn't until 8 years later when Gounod was recognized for his first great opera, Faust. However, the Franco-Prussian War of 1870 and his move to England brought about an unprofitable interruption to his fame.
By his death in 1893, Gounod had completed 12 operas, including Mireille (1864) and Romeo et Juliette (1867), yet it was his fascination with liturgical music that inspired him to the end.
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Enjoy the beauty of the original language and understand it all with English translations. The English text is projected on a screen above the stage for each opera. Easy to follow, and easy to understand every twist and turn of the plot!
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