⭐️⭐️⭐️

Bellini’s I Capuleti had its tender Romantic charms trampled by Pinar Karabulut’s production in Nancy. She had one interesting idea, deciding to make Romeo a woman. I can see the initial point; after all the role is sung by a mezzo soprano so arguably it was a concept worth investigating. But having made the move Karabulut did nothing with it. Worse was her setting the production in the Wild West. Earlier this year I had see the RSC’s Cowbois, described as a ‘rollicking queer Western like nothing you’ve seen before’, which it certainly was: and, whilst incredibly patchy, it did provide some laughs along its exuberant path. Unfortunately so did I Capuleti, which was hideously reminiscent in so many ways. One knackered dustball on a string and a few model horses do not a desert make. The last time I saw someone playing giddy-up on an imaginary horse I was about five, so pity poor Manuel Fuentes as Lorenzo who had to gallop in front of a wrinkled sky. Worse was poor Giulietta’s opening aria, sung atop a suspended platform, essentially the top half of an enormous cotton reel that rose and swayed as poor Yaritza Véliz tried to look unconcerned despite having to resort to clutching at the suspension cables as she spun her lines wearing her hideous costume. My heart went out to her. Likewise, when she and Julie Boulianne’s Romeo swayed in stylised unison for no reason – why? And pity the poor chorus cavorting awkwardly in their Lone Ranger masks. Everything undermined Bellini’s exquisite anguish.

Yaritza Véliz (Giulietta) in I Capuleti e i Montecchi at Opéra National de Lorraine | Photo credit: Jean-Louis Fernandez 

Thankfully, things were musically on a much higher level. Ramón Tebar conducted with style, accommodated his singers well, and allowed some discreet vocal decoration. Orchestra and chorus were both solid and the balance between stage and pit adroit. David Astorga’s Tebaldo got things off to a good start, his tenor buoyant and full of brio, his personality winning. Julie Boulianne’s mezzo Romeo had a fascinating woodwind quality, particularly in her ability to spin a line, plus a thrilling top. Véliz’s lush soprano also had the ability to tease a languorous phrase without losing focus, with some ethereal pianissimi and the heft to dominate an ensemble. Her soprano blended very well with Boulianne’s mezzo. They didn’t get much of a chance to form any chemistry, often singing apart or side by side, and it made it difficult to invest in their woes. Fuentes was vivid, his bass ringing and his presence lively, and Donny Ray Albert growled effectively as Capellio. Everyone threw themselves into the production, but judgement of acting ability is difficult as so much of the action was puerile. Dramatically dispiriting on almost every level, but an evening of good music.

I Capuleti e i Montecchi ran from 23 - 29 June at Opéra National de Lorraine.