Very few operas based on the works of William Shakespeare do justice to the original source. Translating Early Modern English into a different language, making it singable and fitting it into a two- or three-hour format means that too many steps are involved for the essence of the work not to get lost along the way. Charles Gounod’s Roméo et Juliette is one of the rare operas that succeeds in doing so. Less well-known today than Gounod’s other great opera, Faust, Roméo et Juliette was his most successful opera at the time of its premiere in 1867.
It requires a tenor who not only can sing well, but also understands the musicality and elegance of the French style, as well as a soprano who can handle both the light-hearted lyric passages at the beginning and the dramatic moments later on. The supporting cast also requires strong voices and convincing acting, which is not easy to achieve. Furthermore, French opera often proves challenging even for excellent conductors, so a specialist in the style is crucial for a successful recording.
With this in mind, here are five essential recordings of Gounod’s Roméo et Juliette, in no particular order… mostly.
Leonard Slatkin / Münchner Rundfunkorchester (RCA)
In this 1995 recording, fantastically conducted by Leonard Slatkin, the first thing that stands out is the presence of Plácido Domingo as Roméo, a role that was never part of his repertoire and very different from those he usually sang. His good showing proves that a thoughtful interpretation can be highly effective, even if the singer’s voice is not naturally suited to the role — especially when they approach it with intelligence, musicality and understanding. Ruth Ann Swenson is a strong Juliette; although she lacks the dramatic edge to captivate the listener fully, her performance is solid overall. Among the supporting cast, Susan Graham’s Stéphano is particularly notable, delivering probably the finest interpretation of the role in the entire discography.
Alberto Erede / Orchestre du Théâtre National de l’Opéra de Paris (Decca)
Alberto Erede’s 1953 recording was the first attempt to capture this opera with a fully French-speaking cast. Although it is conducted rather indifferently by Erede, the strength of the recording lies in the style and rapport between the singers, even if they are not exceptional. Janine Micheau’s warm tone makes her a convincing Juliette, and Raoul Jobin is stylistically appropriate as Roméo; however, his voice lacked the freshness demanded by the role by then. However, their chemistry is convincing, and the four love duets shine throughout the recording. The mono sound quality is good, and while the usual cuts have been made, This recording is an excellent choice if you are looking for an authentically French-styled performance of Roméo et Juliette.
Emil Cooper / Metropolitan Opera Orchestra (Sony Classical)
This live recording from the Metropolitan Opera in 1947 is a vocal showcase for both leads. At the peak of his vocal powers, Jussi Björling is an exceptional Romeo; his presence and passion are unmatched in the discography and the beauty and magnetism of his voice shine through throughout the opera. His perfect partner is the equally electric Bidu Sayão as Juliette, who is charming and innocent yet full of personality. She performs every aspect of the character superbly, from her waltz in the first act, sung with unparalleled grace, to the final scene, in which she makes her voice sound as though it is struggling to emerge, as if death itself is forbidding it. Emil Cooper conducts the performance excellently, despite the usual cuts of the time. Nicola Moscona’s superb Frère Laurent also deserves a mention. The sound quality, while not terrible and better than some of the recordings of the era, is an evident drawback.
Michel Plasson / Orchestre du Capitole de Toulouse (EMI/Warner)
Michel Plasson is a conductor who has always made great efforts to give French opera the artistry and interpretation it deserves. Conductors who primarily focus on Italian or German opera often neglect the French side of the art form, and their interpretations of these works can seem shallow and almost condescending, as if the music was not worthy of the same depth of analysis as other operas. In this 1984 recording, Plasson does the exact opposite. His conducting is full of nuance and musicality, giving the later acts the weight they demand while preserving the lightness of the opening. Alfredo Kraus performance in the French repertoire is flawless. Listening to his performance as Roméo is like attending a masterclass in how to sing this music, with his trademark phrasing and tasteful elegance. Even though his voice no longer sounds entirely youthful, he still manages to convey the essence of the role. American soprano Catherine Malfitano is not a typical Juliette. While her voice may not be as beautiful as some of the others on this list, the unique personality she brings to the role makes her one of the most convincing Juliettes on record. Her performance in Acts IV and V is outstanding. The supporting cast is also impressive, featuring Gino Quilico as Mercutio, José van Dam as Frère Laurent, Gabriel Bacquier as Lord Capulet and Ann Murray as Stéphano.
Michel Plasson / Orchestre du Capitole de Toulouse (EMI/Warner)
The only conductor to surpass Michel Plasson’s 1984 version of Roméo et Juliette is… Plasson himself, with his second studio recording of the piece. His reading in this 1995 recording is more intellectual and meticulous than the first, probably even more elegant. This time, his Romeo is embodied by Roberto Alagna. While his performance may be less musical and refined than Kraus’, it is more energetic and youthful, making Alagna one of the most most credible Roméos on record. Add to that his natural French diction, his voice being in excellent condition at the time and the obvious chemistry he shares with his Juliette, and you have a fantastic all-round interpretation of the role. As Juliette, Angela Gheorghiu — Alagna’s then-wife — also gives a remarkable performance. She takes on the role with commendable ease, giving the dramatic sections the weight they need without stripping away the lightness of the opening. While her interpretation may be somewhat superficial, it remains a brilliant reading of the role. Simon Keenlyside is arguably the best Mercutio on record, while José van Dam excels once again in the role of Frère Laurent. The rest of the cast perform strongly too.
Bonus
It’s a shame that Georges Thill, widely regarded as the finest French tenor of the first half of the 20th century, never recorded the complete opera. Nevertheless, his 1927 recording of ‘Ah! Lève-toi soleil’ is arguably the greatest version of Roméo’s beloved Act II aria ever captured.
