Dicapo Forgoes Bold for Basic

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In its quarter-century existence, the Dicapo Opera Theatre has established a secure niche for itself in the city’s operatic life, not least by mounting contemporary operas and rarities in its intimate and attractive theater on East 76th Street. But one has to wonder what possessed it to mount Gounod’s “Roméo et Juliette” at the very time that the Metropolitan Opera had scheduled the opera with the “dream team” of Anna Netrebko and Rolando Villazón in the title roles. (As it turns out, Mr. Villazón canceled but has been replaced by other able tenors.)

Given the attention that the Met’s performances have understandably aroused, this might have been a good opportunity to explore a lesser known Gounod opera, such as “Polyeucte” or “La Reine de Saba.” Then again, perhaps another “Roméo” would be justified by a bold, alternative approach to staging. But the direction by the company’s general director, Michael Capasso, proved quite basic.

In one respect this “Roméo” did offer a new take on the work, given the extensive cutting of Gounod’s rather sprawling score. The opera, which in large measure consists of a string of duets for the lovers, is a little clunky and does have its detractors. Its sheer melodic beauty carries the day, but I have rarely attended a performance of “Roméo” where I haven’t sensed its longueurs. The Dicapo’s abridged version (which lasted under two and a half hours, including one intermission) kept the piece moving along, but did so at a heavy price. Act I, for instance, began with the delightful recurring waltz theme in the orchestra, but the entire opening chorus, for which the theme serves as a refrain, was cut. Another cut was even more surprising: Juliette lost her waltz song “Je veux vivre” — probably the most famous number in the opera — but she sang the Potion Aria, “Amour ranime mon courage,” which is now regularly performed but used to be cut. There is support for Dicapo’s decision here: “Je veux vivre” was added for the first Juliette, Marie Caroline Carvalho, only after she decided that the Potion Aria was not for her.

In the end, whether or not this “Roméo” was justified depended on the strength of the singers, and they left a mixed impression. I quite enjoyed Jason Karn’s singing as Roméo. He has an attractive, soft-grained tenor that at its best reminded me a bit of the late Alfredo Kraus. Mr. Karn’s singing was flexible, smoothly phrased, and secure on top. He was a little unsteady at times, but he brought verve and firm tone to the role’s more impassioned outbursts.

Kristin Sampson contributed a strong, lustily sung Juliette that was at its best in her passionate delivery of the Potion Aria. I also liked the way she seemed almost to berate Friar Lawrence when enlisting his aid in her hour of need. But Ms. Sampson’s singing often seemed labored, and high notes sounded hard-edged. Chad Armstrong sang Mercutio in a resonant baritone that had the agility for the “Queen Mab Scherzo,” and Matthew Lau’s velvety, sonorous bass served imposingly for Friar Lawrence. Robin Flynn brought an attractive, light mezzo to what few phrases remained of Stephano’s aria.

John Farrell’s modest sets conveyed a bit of the flavor of old Verona, as did Angela Huff’s routine-looking costumes. Pacien Mazzagatti conducted efficiently.

Until October 14 (184 E. 76th St., between Third and Lexington avenues, 212-288-9438).


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