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2012
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London,
Barry Millington's rating
Reader rating
Dir: Pier Luigi Pizza (dir), Mark Elder (cond).
Cast: Anna Netrebko (Giulietta), Elina Garanca (Romeo)
Description: Bellini's reading of Romeo And Juliet, directed by Pier Luigi Pizzi and conducted by Mark Elder. With Anna Netrebko as Giulietta and Elina Garanca as Romeo.
Trains: Tube: Covent Garden 
Phone: 0207304 4000
Website: www.roh.org.uk
Email: onlinebooking@roh.org.uk
Extra info: Air Conditioning, Food
Fame is a flighty mistress. Only a year or two ago the world was at the Russian soprano Anna Netrebko’s feet. Now the latest kid on the block, the Latvian mezzo Elina Garanca, the Romeo to Netrebko’s Giulietta in Bellini’s I Capuleti e i Montecchi, gets an even larger ovation.
London is lucky to have two singers of such quality on stage together. It’s fortunate, too, that their voices blend so well: their duetting is a model of euphony. If pushed, one would have to admit that Garanca has the edge. Her mezzo is stunningly impressive. Rising effortlessly to notes that would stretch many a soprano, it descends evenly throughout the compass, avoiding any unseemly changes of register.
Hearing an early exponent of Bellini’s Romeo, Wilhelmine Schröder-Devrient, fired the young Wagner with theatrical passion. He, too, would have admired Garanca’s nobility of bearing, not to mention the sumptuous timbre and flawless technique.
Those with shorter memories were reminiscing about Marilyn Horne, one of the role’s greatest exponents — not necessarily to her advantage. Yet something was missing. Neither Garanca nor Netrebko quite swept one off one’s feet. Was it first night caution or the almost risibly inert production of Pier Luigi Pizzi? Pizzi’s sets (designed by himself) and deeply unimaginative stage movement were passé even in 1984; today they are unacceptably feeble.
In other circumstances Dario Schmunk’s Tebaldo might have scored a success but as rival to Romeo, he lacks the star quality of Garanca. Eric Owens, however, brings a richly textured voice to the role of Capellio, Giulietta’s fatally obstinate father.
The men of the ROH chorus, helpfully colour coded in their florid cloaks (except when in disguise), do the inanely warring factions proud.
Mark Elder provides an exquisitely phrased, meticulously calibrated aural backdrop to the vocal riches. And it is Garanca and Netrebko on whom the spotlight indubitably falls. Whatever the reservations, the calibre of their singing is exceptional. It’s worth putting up with the inchoate production to witness such vocal accomplishment. If you can’t get to Covent Garden, there is a DG recording just released with Garanca and Netrebko in the same roles.
Until 11 April (020 7304 4000, www.roh.org.uk).
Details are correct at the time of publication - please check with venue before booking.
The performance on 7 March delivered a slightly different experience - starting with Netrebko standing down due to recent childbirth (six months ago). That disappointment aside, never have I witnessed such a perfect union of technique and character as Garanca's Romeo. Her presence was riveting, and her singing was flawless.
Giulietta understudy Eri Nakamura did a very good job on short notice. She captured the youth and immaturity of Giulietta well, though the character's strength did not shine through.
Elder does not seem to understand bel canto - he butchered the score from the opening notes and, from what I could tell, was slightly booed during his curtain call.
Lastly, the staging was comical at points. Such as when a dead soldier sprung back to life. Or during a prolonged silent sword-lunging battle scene that distracted from the singers more than if the chorus had actually been fighting, sword rattle and all.
And yet Garanca's death was so moving, my friend and I both wiped away our tears.
In all, a very uneven evening, but all the more interesting for it.
- Peter, London, UK
Wonderful singing from everybody but spoiled by people standing around armed to the teeth (daggers and swords) but not even bothering to snarl.
To match the leads who were beautiful the rest of the cast ,in 2009 , have to act at least a bit to add a bit of movement. People stroll up to the front and sung. Pretty stuff but Red and blue robes needed some fake blood spilled after some proper swordplay - called out for activity. The ROH can do this-as Rigoletto demonstrated recently with if anything too much action (sex acts and running up ladders). So get the chorus to the gym!
- Duncan, london
