Organization

Cantante

Soprano

Anna Netrebko

Julieta

Ailyn Pérez

Tenor

Rolando Villazón

Romeo

John Osborn

Bajo

Mikhail Petrenko

Fray Lorenzo

Barítono

Russell Braun

Mercucio

Mezzosoprano

Cora Burggraaf

Stéfano

Bajobarítono

Falk Struckmann

Conde Capuleto

In Sung Sim

Juan Francisco Gatell Abre

Tibaldo

Susanne Resmark

Gertrude

Mathias Hausmann

Paris

Jean Luc Ballestra

Grigorio

Robert Murray

Benvolio

Director(a) orquestal

Yannick Nézet-Séguin

Director(a) de escena

Bartlett Sher

Escenógrafo(a)

Michael Yeargan

Diseñador(a) de vestuario/Figurinista

Catherine Zuber

Diseñador(a) de iluminación

Jennifer Tipton

Salzburger Festspiele

Others

Konzertvereinigung Wiener Staatsopernchor

Orchestra

Mozarteumorchester Salzburg

Chor der Wiener Staatsoper

francés

Roméo et Juliette -  (Romeo y Julieta)

Salzburgo

Austria

Felsenreitschule

Although Charles Gounod's "Roméo et Juliette" is less well known than his "Faust", he is blessed with four great, ravishing love duets that allow his two title roles to revel in lyrical luxury.

In this Salzburg Festival production, recorded at the Felsenreitschule, the title heroes are the much-praised Mexican tenor Rolando Villazón and the young Georgian soprano Nino Machaidze - two singers and personalities with the makings of a new "dream couple".

Villazón is "an ideal Roméo ... His vocal chords seem to have grown directly to his heart", writes Der Tagesspiegel about the exceptional artist and with this apt description Villazón's complete devotion to emotions, his hot-blooded stagecraft and his ability to achieve erotic fulfillment on the one hand and on the other hand, being able to express the hopelessness of his fate with his voice is fair.

His Juliette, Nino Machaidze, combines her graceful appearance with a bright, clear voice and an agile, youthful stage presence - a singer on the way to stardom! Broadway director Bartlett Sher and his team manage to bring Shakespeare's Verona to life with a few captivating props, many exquisite costumes and a dramaturgy that is always helpful to the plot.

However, in the eyes of many, the true discovery of the production is the young Montréal conductor Yannick Nézet-Séguin, who delivers Gounod's work with vibrancy and passion. In the words of the Frankfurter Allgemeine Zeitung, Nézet-Séguin immerses himself "so seriously in the specific charm of the score that all of its treasures, which are certainly there, are brought to light" and thus allows the Mozarteum Orchestra, with its fabulously differentiated playing, to sing a "hymn to a religious, aesthetic and erotic moments, reconciling sensuality … intone in floating, finely flavored sounds”.
This lively interpretation of 'Roméo et Juliette' makes this intensely lyrical work a worthy counterpart to Gounod's 'Faust'.

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