OPERA REVIEW: ‘Romeo and Juliet’ rates among the best at Sarasota Opera

‘Romeo and Juliet’: By Charles Gounod. Conducted by Anthony Barrese, directed by Martha Collins. Reviewed Feb. 15, Sarasota Opera House, 61 N. Pineapple Ave., Sarasota. Through March 20. 941-328-1300; sarasotaopera.org

Seven composers have written grand operas based on the legend of “Romeo and Juliet.” Six of these scores gather dust on library shelves. The seventh, Gounod's great 1867 work, graced the stage of the Sarasota Opera House Saturday.

Of the more than 80 productions I have seen here, this one rates among the very highest. It is a performance of such beauty and majesty; any lover of this art form should consider it a must-see.

From the first somber, powerful notes of the Prologue, we know something special is going to happen. Maestro Anthony Barrese brings out surprisingly rich, deep sounds from his precise and resonant orchestra, especially in a four-voice fugue. Then, in an unorthodox way, the curtain rises and the entire cast comments on the feud, “Verone, vit jadis deux familles rivales.” The curtain closes, the Prologue ends and Act 1 debuts as a gala masquerade ball.

This is a new production of the work, which was last presented in Sarasota in 1993. It is a massive and ambitious undertaking, with a large chorus and a cast of a dozen characters with important moments.

Any performance of such merit has great singers in key roles. Here five of the cast was most impressive, with the leads just wonderful.

Soprano Hanna Brammer — who was a fine Pamina in last year's “The Magic Flute” —is the ideal Juliet. The role is immense: She is on stage for almost all of the opera's five acts and has several challenging arias. The vocal range is vast, and the emotional scope extreme. The famous aria, “Ah! je veux vivre dans le reve” in Act 1, is a classic showpiece that immediately informed the ear something special is happening. The flourishes and ornaments are gracefully handled.

Her Romeo is tenor Andrew Surrena, whose voice is rich and full through its entire range. The composer doesn't test the high end of the tenor range nearly as much as he does the soprano. But the vocal trials are many in terms of expression.

In addition to the solos, Gounod created four duets for the couple, ranging from the joy of meeting to the agony of their deaths (in this version, both lovers die).

And the acting of both is an effective addition to the impact of the music.

The stage director, Martha Collins, provides plenty of realistic action to the duo, and both show their dramatic skills are equal to the demands. The entire production is beautifully staged on wonderful sets designed by Peter Dean Beck.

The three standouts among supporting cast members are baritone Matthew Hanscom as Mercutio, bass Ricardo Lugo as Friar Lawrence and Yvonne Trobe as Juliet's page, Stephano. The two male voices are resonant and full, giving these important parts the impact merited.

The composer inserted the role of page into the original story. It created a trouser role with one wonderful aria, delivered here with superb presence.

Other singers made important musical and dramatic contributions, including Joseph Beutel as Paris; Garison Salmon as Benvolio; Christopher Nazarian as the Duke; Michael Gracco as Gregorio and Lisa Chavez as Gertrude.

The opera chorus sings with great beauty, vigor and tone quality, adding much to the evening's impact.

All evening long, the maestro matched his accurate and expressive orchestra to his voices on stage. It is rare to hear such a terrific blending throughout a long work such as this.

Not everything was rave-worthy, though.

The role of Tybalt as sung by Samuel Schlievert sounded consistently off-key and sharp. Both he and Adelmo Guidareli as Capulet had to race through Act 1 arias at tempos much too quick for them or the needs of the music.

One of the many joys of seeing operas in Sarasota is the chance to hear gifted young singers on their way to major careers in this immensely challenging arena. For “Romeo and Juliet,” that joy was just a bonus on an already magnificent experience.