Roméo et Juliette [SEP] based on
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Roméo et Juliette (Berlioz)


"Roméo et Juliette" L'auteur reconnaissant de "Tristan et Isolde"./poem poem style="margin-left:2em; float:left;"(To the great and dear author of "Romeo and Juliet" from the grateful author of "Tristan and Isolde".)/poem Beyond the influence on Wagner's music drama, the piece pushed the limits of the contemporary orchestra's capabilities, in terms of colour, programmatic scope and individual virtuosity. While this applies to much of Berlioz's music, it is even more true for "Roméo et Juliette", written at the height of his
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Roméo et Juliette (Berlioz)


for: Structurally and musically, "Roméo et Juliette" is most indebted to Beethoven's 9th symphony – not just due to the use of soloists and choir, but in factors such as the weight of the vocal contribution being in the finale, and also in aspects of the orchestration such as the theme of the trombone recitative at the "Introduction". The roles of Roméo and Juliette are represented by the orchestra, and the narrative aspects by the voices. Berlioz's reasoning follows: If, in the famous garden and
16364735
Roméo et Juliette (Berlioz)


, outlining in passing how he would compose music for the "Roméo et Juliette" story: it would feature, he says, the sword fight, a concert of love, Mercutio's piquant buffooning, the terrible catastrophe, and the solemn oath of the two rival families. One line of text from the review eventually shows up in the libretto of the symphony. The eventual composition of "Roméo et Juliette" as we know it now was made possible by the generous gift of 20,000 francs by Niccolò Paganini; after hearing
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Roméo et Juliette (Berlioz)


be. He sensed Beethoven's flexibility with regard to number of movements and the performing force. From "Roméo et Juliette" Wagner absorbed so much about the ideals of dramatic music that the work can be considered a major influence on "Tristan und Isolde". When Wagner first heard the work in 1839 he said it made him feel like a schoolboy at Berlioz's side. "Roméo et Juliette" was also the work of Berlioz's that Wagner knew best. Indeed, their second and last meeting was on the occasion
16364739
Roméo et Juliette


Roméo et Juliette ("Romeo and Juliet") is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on "Romeo and Juliet" by William Shakespeare. It was first performed at the Théâtre Lyrique (Théâtre-Lyrique Impérial du Châtelet), Paris on 27 April 1867. This opera is notable for the series of four duets for the main characters and the waltz song ""Je veux vivre"" for the soprano. Gounod's opera "Faust" had
1907929
Roméo et Juliette (musical)


Roméo et Juliette: de la Haine à l'Amour is a French musical based on William Shakespeare's play "Romeo and Juliet", with music and lyrics by Gérard Presgurvic. It premiered in Paris on January 19, 2001. The production was directed and choreographed by Redha, with costumes by Dominique Borg and settings by Petrika Ionesco. The producers were Gérard Louvin, GLEM, and Universal Music. Since then, the musical has been performed in Verona, Rome, Canada, Antwerp, London, Amsterdam, Budapest, Szeged,
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Roméo et Juliette (Berlioz)


Roméo et Juliette is a "symphonie dramatique," a large-scale choral symphony by French composer Hector Berlioz, which was first performed on 24 November 1839. The libretto was written by Émile Deschamps, and the completed work was assigned the catalogue numbers Op. 17 and H. 79. It is based on Shakespeare's play "Romeo and Juliet"; it is regarded as one of Berlioz's finest works, and it is among the most original in form. The score is Berlioz's most comprehensive and detailed programmatic piece
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Roméo et Juliette


and, after a long duet, Roméo departs for exile. Juliette's father comes to remind her of Tybalt's dying wish for Juliette to marry Count Pâris. The friar gives Juliette a draught which will cause her to sleep, so as to appear as if dead and, after being laid in the family tomb, it is planned that Roméo will awaken her and take her away. [A ballet scene in the grand hall of the palace was inserted at this point.] "Juliet's tomb" Roméo breaks into
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Roméo et Juliette


Juliette takes place, and they fall in love. But Tybalt re-appears and suspects that the hastily re-masked Roméo is his rival. While Tybalt wants immediate revenge, Capulet orders that the ball continue. "The Capulets' garden" After Roméo's page Stephano has helped his master gain access, he reveals the two young lovers exchanging their vows of love. "Scene 1: Laurent's cell" Roméo and Juliette, accompanied by Gertrude, go to the cell, and the wedding takes place. Laurent hopes
1907935
Jesús León


), Il Duca Rigoletto (Opéra de Nice), Roméo in Roméo et Juliette (Royal Opera House Muscat) and Elvino La Sonnambula (Teatro Filarmonico Verona). Other recent engagements have included Roméo in Roméo et Juliette at the Atlanta Opera, Arturo in I Puritani at the Maggio Musicale Fiorentino in Florence, Tebaldo in I Capuleti e i Montecchi at Teatro Massimo Bellini in Catania, Elvino La Sonnambula at Teatro Massimo Bellini, Teatro Comunale Mario del Monaco in Treviso, Teatro Comunale Ferrara and Teatro Alighieri Ravenna, Nadir Les pêcheurs
11846295
Romanticism in France


du Christ]]", and three operas: "[[Benvenuto Cellini (opera)|Benvenuto Cellini]]", "[[Les Troyens]]" and "[[Béatrice et Bénédict]]", a "dramatic symphony" "[[Roméo et Juliette (Berlioz)|Roméo et Juliette]]" and the "dramatic legend" "[[La damnation de Faust]]". Another important figure in French romanticism was [[Charles Gounod]], best known today for his operas "[[Faust
18246835
Roméo et Juliette (Berlioz)


"Sardanapale", the cantata with which Berlioz finally won the Prix de Rome in 1830, includes the melodic material of both the "Roméo seul" ("Romeo alone") portion of the second movement and the "Grande fête chez Capulet" ("Great banquet at the Capulets"). There is abundant evidence that Berlioz was gradually working out a scheme for "Roméo et Juliette" during his sojourn in Italy. He reviewed a February 1831 performance in Florence of Bellini's "I Capuleti e i Montecchi"
16364724
Claude Schnitzler


in Gounod's "Roméo et Juliette" and was immediately re-employed there for the coming seasons: "La Bohème", "Lucia di Lammermoor", "Roméo et Juliette", "The Tales of Hoffmann", "L'elisir d'amore", Massenet's "Manon" and Bizet's "Carmen". Other projects include Dukas' "Ariane et Barbe-Bleue" in Nice, Smetana's "The Bartered Bride" and "Die Fledermaus" at the Vienna State Opera, "La Traviata" in Metz
11740570
Gary Halvorson


2006), "I Puritani" (6 Jan 2007), Il Barbiere di Siviglia (24 Mar 2007), "Il Tabarro" (28 Apr 2007), "Roméo et Juliette" (15 Dec 2007), Macbeth (11 Jan 2008), Peter Grimes (15 Mar 2008), La Bohème (5 Apr 2008), La fille du régiment (26 Avr 2008), the 2008-09 opening night gala starring Renée Fleming (22 Sep 2008), Doctor Atomic (8 Nov 2008)
11608651
Roméo et Juliette


an admirable opera for Giulietta; in which Romeo is not forgotten. The libretto follows the story of Shakespeare's play. "Overture prologue": A short chorus sets the scene of the rival families in Verona. "A masked ball in the Capulets’ palace" Tybalt talks to Pâris about Juliette, who appears with her father. Roméo, Mercutio, Benvolio and their friends enter, disguised, and Mercutio sings a ballad about Queen Mab, after which Juliette sings a joyful waltz song. The first meeting between Roméo and
1907934
Roméo et Juliette


A parody soon appeared at the Théâtre Déjazet, entitled "Rhum et eau en juillet" ("Rum and Water in July"). The opera entered the repertoire of the Opéra-Comique on 20 January 1873 (with Deloffre and Carvalho returning to their roles from the premiere), where it received 391 performances in 14 years. On 28 November 1888 "Roméo et Juliette" transferred to the Paris Opéra, with Adelina Patti and Jean de Reszke in the leading roles. The opera was first seen in London (with
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Roméo et Juliette


that reconciliation between the houses of the Montagus and the Capulets may thus take place. "Scene 2: a street near Capulet's palace" Stephano sings to attract the occupants into the street. Gregoire and Stephano skirmish as men from each family appear. The duel is first between Tybalt and Mercutio, who falls dead, and then between Roméo, determined to avenge his comrade, and Tybalt. Tybalt is killed by Roméo, who is banished by the Duke. "Juliet's room at dawn" Roméo and Juliette are together
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Roméo et Juliette (Berlioz)


of a performance of the work in London in 1855. Wagner learned something of melodic flexibility and perhaps even a mastery of the orchestral force from Berlioz. He may have absorbed more specific features: the close relationship of the first few bars of the "Tristan" prelude to the opening of the second movement of "Roméo et Juliette" has been suggested. Moreover, in 1860, he sent Berlioz the published full score of "Tristan und Isolde" inscribed merely: poem lang="fr" style="float:left;"Au grand et cher auteur de
16364740
Choral symphony


the normal bounds of the symphonic genre, as with Berlioz for his "Roméo et Juliette", yet stay within the basic structural or aesthetic intent of symphonic form. It can also influence the musical content in parts where there is no singing, as in "Roméo et Juliette". There, Berlioz allows the orchestra to express the majority of the drama in instrumental music and saves words for expository and narrative sections of the work. As in an oratorio, the written text in a choral symphony can be as important as
10063032
Ana María González (Spanish singer)


"Roméo et Juliette" was followed by Mimi in "La bohème" at Covent Garden, "La Traviata" at the Vienna State Opera and in Hamburg, Deutsche Oper am Rhein in Düsseldorf and Duisburg, the Paris Opera with "Roméo et Juliette" (again with Alfredo Kraus), Bordeaux, Teatro Regio di Parma (as Donna Elvira in "Don Giovanni" with Renato Bruson and "Faust" with Kraus), Modena ("The Tales of Hoffmann"), Palermo ("La bohème"),
19213598
Marguerite Bériza


Iphigénie en Tauride", Gertrude in Charles Gounod's "Roméo et Juliette", The Marquise of Birkenfeld in Gaetano Donizetti's "La fille du régiment", and The Muse in Jacques Offenbach's "The Tales of Hoffmann". In January 1909 and January 1910 she appeared as a guest artist at the Opéra de Monte-Carlo performing the roles of Erda, Flosshilde, and Waltraute in Richard Wagner's "The Ring Cycle". She was also heard there as Stéphano in "Roméo et Juliette". In 1912
647740
Roméo et Juliette


1867: Gounod's "Roméo et Juliette", in which the composer is always pleasing, though seldom impressive, might be described as the powerful drama of "Romeo and Juliet" reduced to the proportions of an eclogue for Juliet and Romeo. One remembers the work as a series of very pretty duets, varied by a sparkling waltz air for Juliet, in which Madame Patti displays that tragic genius, which belongs to her equally, with the highest capacity for comedy. [Vaccai's] "Romeo e Giulietta" is
1907933
Pittsburgh Ballet Theatre


"Giselle", it also entered new dramatic territory with Jean-Christophe Maillot’s unconventional "Roméo et Juliette" and the evocative "Light / The Holocaust and Humanity Project". Orr would go on to commission 18 world premiere works for the company. Meanwhile, a successful “Say it with Music Campaign” to restore the PBT Orchestra would jump-start a growing period of financial stability for continued artistic growth. Repertoire Highlights: Jean-Christophe Maillot’s "Roméo et Juliette"; Stephen Mills’ "Light /
6268544
Roméo et Juliette (musical)


Friar Lawrence enters the vault and finds the two lovers dead. He complains to God (J'sais plus). When the whole story is told, the two devastated families agree henceforward to live in peace (Coupables). Notes :br - "La folie" and "Pourquoi" were sung until Jun. 27, 2001. They can be found on the L'Integrale recording and the second disc of some DVD recordings.br - "Sans elle" is sung only by Roméo on the cast recording, but by Roméo and Juliette during the
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Roméo et Juliette (Berlioz)


of Shakespeare's work only natural. In fact, he had been planning a musical realisation of "Romeo and Juliet" for a long time before 1838, but other projects intervened. Emile Deschamps (the librettist of the work) says that he and Berlioz worked out a plan for the symphony shortly after the Odéon's 1827/28 season. Indeed, it may be the case that "Roméo et Juliette"'s genesis is intertwined with other works composed before the composer left for his Prix de Rome sojourn of 1830 to 1832.
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Romeo and Juliet (1900 film)


Roméo et Juliette is a 1900 French film adaptation of the classic and famous William Shakespeare play, "Romeo and Juliet". This film version was directed by Clément Maurice and featured Emilio Cossira singing a tenor aria from Charles Gounod's Roméo et Juliette. It is believed to be the earliest film adaptation of the Shakespeare classic. The film was produced by "Phono-Cinéma-Théâtre", which premiered one of the first synchronized sound film systems at the Paris exhibition of 1900, with this film being one of the earliest
7427221
Roméo et Juliette


Patti and Mario) on 11 July 1867 and in New York (with Minnie Hauk) at the Academy of Music on 15 November of that year. In 1912, the opera was recorded complete for the first time with Agustarello Affre as Roméo, Yvonne Gall as Juliette, Henri Albers as Capulet and Marcel Journet as Laurent. The opera is frequently staged by the world's opera houses. Sutherland Edwards, music critic of the "St. James's Gazette", wrote the following about the opera following its first London performance in
1907932
Damien Sargue


times supplying Patrick Fiori or Bruno Pelletier. In 2001 he performed the principal role in "Roméo et Juliette, de la Haine à l'Amour" as Romeo Montaigue with Cécilia Cara as the role of Juliette Capulet. In 2004 he provided the French dub for Raoul in "The Phantom of the Opera" by Joel Schumacher. His first album as a solo called "Merci" was released. In 2006 he played the role of Romeo again in the Asia tour of "Romeo et Juliette" that launched in Korea. In 2007
10671175
Lili Chookasian


1986 as Gertrude in Gounod's "Roméo et Juliette" with Neil Shicoff as Roméo and Catherine Malfitano as Juliette. Her 290th performance with the company, was also her farewell to the opera stage. While the Met was her major home, Chookasian also remained active as a concert performer and sang in opera houses both in the United States and Europe. She quickly became one of the leading contraltos performing on the international stage during the 1960s and 1970s, singing under Georg Solti, Leonard Bernstein, James Levine, Zubin Mehta,
11516534
Geraldine Farrar


roles of Ambroise Thomas' "Mignon" and Jules Massenet's "Manon", as well as Juliette in Gounod's "Roméo et Juliette". Her admirers in Berlin included Crown Prince Wilhelm of Germany, with whom she is believed to have had a relationship beginning in 1903. After three years with the Monte Carlo Opera, she made her debut at the New York Metropolitan Opera in "Romeo et Juliette" on November 26, 1906. She appeared in the first Met performance of Giacomo Puccini's "Madama Butterfly"
9815334
Venera Gimadieva


2014 season also included Venera’s first Juliette in Gounod’s Roméo et Juliette opposite Juan Diego Flórez’s first Roméo in Lima, Peru, and the title roles of Lucia di Lammermoor (Donizetti) and Manon (Massenet). The 2015-16 season saw Gimadieva sing Violetta for both her debut at the Royal Opera House, Covent Garden, and her USA debut at the Hollywood Bowl with the LA Philharmonic Orchestra. She also sings the title role of "Lucia di Lammermoor" in Limoges, Rheims and Rouen; Giulietta "
10468782
Roméo et Juliette (musical)


. Unfortunately, The Friar's message telling Romeo of the plan somehow goes astray, and instead he hears only from Benvolio that his wife Juliet is dead (Comment lui dire). Grief-stricken, he breaks into the Capulet vault, finds what he believes to be the mortal remains of his beloved, and takes poison to be reunited with her in death (Mort de Roméo). Soon afterwards, Juliet awakes to find her husband dead and she stabs herself with Romeo's dagger (La mort de Juliette).
13355912
Mary Garden


debut of his "Pelléas et Mélisande". Garden's performances met with considerable critical acclaim. She also created a sensation as "Salomé" in the French version of Richard Strauss's opera of that name. Following the success of "Pelléas et Mélisande", Garden periodically went to London to sing at the Royal Opera House, Covent Garden while still appearing in performances in Paris. At Covent Garden she sang Manon, Juliette in Charles Gounod's "Roméo et Juliette", and Marguerite in Gounod's "Faust" during
19804669
Emma Abbott


the company are Juliette in Gounod's "Roméo et Juliette", Virginia in "Paul et Virginie", Josephine in "H.M.S. Pinafore", the title role in Flotow's "Martha", Amina in Bellini's "La Sonnambula", and Violetta in "La Traviata", a role to which she apparently no longer objected, however, instead of singing "Addio del passato", she made Violetta expire with "Nearer, my God, to Thee". Throughout her career, she retained artistic control over
10020668
Irene Salemka


the Montreal Festivals as Juliette in Gounod's "Roméo et Juliette"; her debut at the Canadian Opera Company was in the title role in "Madama Butterfly" in 1953. She further studied singing with Hans Löwlein in Germany. From 1956 to 1964 she was a leading soprano with Frankfurt State Opera, where she appeared in operas including "Madama Butterfly", "Pelléas et Mélisande" (as Mélisande), "Gianni Schicchi" (Lauretta), "Der Rosenkavalier" (Sophie) and "The Magic Flute"
12663738
Henriette Bonde-Hansen


Key performances include roles in "The Marriage of Figaro" and "Don Giovanni" at the Royal Danish Theatre. She has also played Marzelline in "Fidelio", Gilda in "Rigoletto" and Juliette in "Roméo et Juliette". Her concert repertoire includes Brahms' "Ein Deutsches Requiem", Liszt's "Christus" and Debussy's "Pelleäs et Melisande". In the 2015-16 season, she performed as a soloist with the Danish Radio Symphony Orchestra. In 2014, Bonde-Hansen was awarded the
13469174
Cesira Ferrani


Genoa. At La Scala she sang Mélisande in the first Milan performance of "Pelléas et Mélisande" with Toscanini in 1908. Her other roles included Juliette from "Roméo et Juliette", Fanny in "Sapho", Charlotte from "Werther", Amelia from "Simon Boccanegra", Elisabeth in "Tannhäuser", and both Elsa in "Lohengrin" and Eva in "Die Meistersinger" among others. Her final appearance was in 1909 as Mélisande. In 1928 when the first recording of Puccini's "Madama Butterfly"
18482756
French opera


Berlioz, these composers were receptive to new musical influences. They also liked writing operas on literary themes. Gounod's "Faust" (1859), based on the drama by Goethe, became an enormous worldwide success. Gounod followed it with "Mireille" (1864), based on the Provençal epic by Frédéric Mistral, and the Shakespeare-inspired "Roméo et Juliette" (1867). Bizet offered the Théâtre Lyrique "Les pêcheurs de perles" (1863) and "La jolie fille de Perth", but
14379980
Glenys Fowles


Juliet ("Roméo et Juliette"; in 1983 to Anson Austin's Roméo), Liu ("Turandot") and Rosalinde ("Die Fledermaus"). The movie "Foul Play" incorporates some segments of her performance as Yum-Yum in "The Mikado". In 1986 Fowles was appointed a Member of the Order of Australia (AM) for her services to music. Her 1978 recording, for EMI, of Valencienne in "The Merry Widow" (excerpts, in English translation), with Sills
14155928
Roy Dupuis


"), directed by André Brassard in 1985; Roméo in a Québécois adaptation of William Shakespeare's "Romeo and Juliet" ("Roméo et Juliette"), directed by Guillermo de Andrea in 1989; and Jay in Jean-Marc Dalpé's "Le Chien" ("The Dog"), Adrien in Jeanne-Mance Delisle's "Un Oiseau vivant dans la gueule" ("A Live Bird in Its Jaws"), and Lee in a Québécois version of Sam Shepard's "True West,"
20318947
Romanticism in France


(opera)|Faust]]" and "[[Roméo et Juliette|Romeo and Juliet]]" and his arrangement of "[[Ave Maria (Bach/Gounod)|Ave Maria]]" based on a melody by Bach. French music was enriched by the presence of some of the most important romantic composers. [[Frederic Chopin]] moved to Paris in 1830, at the age of 20, and lived and composed there until his death in 1849. Beginning in 1824, [[Gioachino Rossini]] lived and composed in
18246836
Joy Clements


, Juliette in "Roméo et Juliette", Lucy in "The Telephone", the title heroine in Massenet's "Manon", Marguerite in "Faust", the title role in Flotow's "Martha", Mimi in "La Bohème", Olympia (the doll) in "Les contes d'Hoffmann", Pamina in "The Magic Flute", Shemakhan Tsaritsa in "The Golden Cockerel", Violetta in "La Traviata", and many of the roles she portrayed in New York City. A highlight of
12143852
Nicole Cabell


season; at the Washington National Opera; and at the Lyric Opera of Chicago. Cabell's repertoire includes Pamina ("Die Zauberflöte"), Juliette ("Roméo et Juliette"), The Countess ("Le nozze di Figaro"), Adina ("L'elisir d'amore"), The Vixen ("The Cunning Little Vixen"), Musetta ("La bohème"), Lauretta and La Ciesca ("Gianni Schicchi"), Clara ("Porgy and Bess"), La Princesse in Ravel's
2062650
Renée Doria


roles at that house included: Leila in "Les pêcheurs de perles", the title role in "Mireille", Marguerite in "Faust", Juliette in "Roméo et Juliette", Ophélie in "Hamlet", "Manon", "Thaïs", as well as Fiordiligi in "Così fan tutte", Gilda in "Rigoletto", and Violetta in "La traviata", etc. Doria also sang in baroque music such as Rameau's "Les Indes galantes", and contemporary works, such as
2912331
Hariclea Darclée


Mascagni and Massenet. Among the many roles she portrayed are Gilda in "Rigoletto", Ophélie in "Hamlet", Valentine in "Les Huguenots", Violetta in "La traviata", Desdemona in "Otello", Mimì in "La boheme", Santuzza in "Cavalleria Rusticana", and the title roles in "Manon", "Manon Lescaut", "Aida", and "Carmen". The last performance of her career was as Juliette in "Roméo et Juliette" at the Teatro Lirico in
4554340
Géori Boué


at the Salle Favart on 3 May 1951), and other roles there included: "Lakmé", "Manon" (singing in the 2,000th performance on 18 January 1952), and "Ciboulette" (first performance at the Opéra-Comique). Her debut at the Palais Garnier took place in 1942, as Marguerite in "Faust", and she went on to sing roles such as Juliette in "Roméo et Juliette", "Thais", Salomé in "Hérodiade", "Louise", Gilda in
8359023
Richard Leech (tenor)


roles of the Duke in "Rigoletto" and Alfredo in "La Traviata". On March 25, 1987, Leech began a two-decade affiliation with Cincinnati Opera with his debut as Hoffmann in "Les contes d'Hoffmann". He went on to sing Roméo in "Roméo et Juliette" in 1989 and 1994, Riccardo in "Un ballo in maschera" in 1991, Cavaradossi in "Tosca" in 1993, Don José in "Carmen" in 2004, and the title role of Gounod's "Faust" in
12120944
Alain Vanzo


himself in the standard French lyric repertory in roles such as Nadir in "Les pêcheurs de perles", Gérald in "Lakmé", "Faust", Roméo in "Roméo et Juliette", Vincent in "Mireille", des Grieux in "Manon", etc. He also sang the Italian repertory as the Duke in "Rigoletto", Alfredo in "La Traviata", Rodolfo in "La bohème". He won great acclaim at the Palais Garnier in 1960, as Edgardo in "Lucia di Lammermoor"
17472011
Albert Lance


the success was immediate. He quickly established himself as one of the leading "French tenors" of the time, at both the Opéra-Comique and the Opéra until 1972, singing the great French roles such as Roméo in "Roméo et Juliette", des Grieux in "Manon", "Werther", Don José in "Carmen", etc. He was also invited to perform at the opera houses of Lyon, Bordeaux, and Marseille, as well as London, Vienna, Moscow, Leningrad, and Buenos
3799005
Nicholas Isherwood


Orfeo" and "Pan" in Marais’ "Alcyone" with Les Arts Florissants; "Joas" in Porpora's "Il Gedeone" with Martin Haselböck; "Frère Léon" in Messiaen's "Saint François d’Assise" in the last composer supervised production; "Der Tod" in the two productions of Viktor Ullmann’s "Der Kaiser von Atlantis" with the Internationale Bachakademie Stuttgart and 2e2m, "Roméo" in Pascal Dusapin’s "Roméo et Juliette" at the Avignon Festival; "Lear" in Toshio Hosokawa
619386
Musical theatre


), France ("Notre-Dame de Paris", "Les Misérables", "Roméo et Juliette" and "Mozart, l'opéra rock") and Spain ("Hoy no me puedo levantar" and "The Musical Sancho Panza"). Japan has recently seen the growth of an indigenous form of musical theatre, both animated and live action, mostly based on Anime and Manga, such as "Kiki's Delivery Service" and "Tenimyu". The popular "Sailor Moon" metaseries has had twenty-
489696
Nellie Melba


Esmeralda". Her Italian parts included Gilda in "Rigoletto", the title role in "Aida", Desdemona in "Otello", Luisa in Mascagni's "I Rantzau", Nedda in "Pagliacci", Rosina in "The Barber of Seville", Violetta in "La traviata", and Mimì in "La bohème". In the French repertoire, she sang Juliette in "Roméo et Juliette", Marguerite in "Faust", Marguerite de Valois in "Les Huguenots", the title role in
15599252
Geneviève Vix


this with Marguerite in "Faust", Mélisse in "Armide", and Juliette in "Roméo et Juliette". Vix made her debut at the Opéra-Comique on 27 September 1906 as "Louise", and was a member of the company for six seasons, creating the roles of Concepción in "L'heure espagnole" in 1911 and Francesca in "Francesca da Rimini" (Leoni) in 1913. She also sang in "Manon" (title role), "Carmen", "Don Giovanni" (Elvira
18996380
Ninon Vallin


as Thaïs, (1920) and San Francisco opera (1934). The range of roles which she undertook was unusually varied in their vocal requirements: Manon, Charlotte (in "Werther"), Juliette (in "Roméo et Juliette"), Marguerite (in "Faust"), Mignon, Zerlina (in "Don Giovanni") and Mélisande. She also sang the trio of heroines in "The Tales of Hoffmann". Vallin had a great affection for French operetta, and performed works by Lecocq,
19861146
Selma Ek


repertoire in Stockholm, portraying such roles as Desdemona in "Otello", Elisabeth in "Tannhäuser", Donna Elvira in "Don Giovanni", Eva in "Die Meistersinger von Nürnberg", Juliette in "Roméo et Juliette", Kristine Gyllenstierna in Johann Gottlieb Naumann's "Gustaf Wasa", Philine in "Mignon", the Queen of the Night in "The Magic Flute", Reiza in "Oberon", Sieglinde in "Die Walküre", Valentine in the "Les Huguenots", and the title role
9311510
Nuno Resende


Dany in the musical "Grease" in Paris. The production is nominated to the Globes de Cristal Award in 2009. At the beginning of 2009, he gets back with the cast of "Roméo et Juliette, les enfants de Vérone"; for a tour in South Korea where he is the understudy of both Roméo and Benvolio. Then he tours with the musical "Aladin" in the French Zeniths until May 2009. From 2009 to 2011, he enters into the troupe of "Mozart, l'opéra rock" as the
16123022
Guillaume Ibos


in French at the Théâtre de Genève on 27 December 1892. The work was presented at the Opéra-Comique on 16 January 1893 with Ibos in the title role. Ibos also played major roles such as the Duke in "Rigoletto", Don Ottavio in "Don Giovanni", Roméo in "Roméo et Juliette", Vasco in Meyerbeer's "L'Africaine", Raoul in "Les Huguenots", and Don Gomez in Camille Saint-Saëns' "Henry VIII". He also sang Wagner and was nicknamed "the
22159070
Kenneth Neate


in France, he sang Arnold ("Guillaume Tell") at the Opéra Comique in 1954, Roméo ("Roméo et Juliette") and Hoffmann ("Les Contes d'Hoffmann"). In Paris, he studied with Lucien Muratore, who presented Ken with several of his own costumes including that of Don José and his swords and daggers. In 1966 and 1967 he appeared opposite Birgit Nilsson in a new production of "Tristan und Isolde" at the Royal Opera in Stockholm, and at Expo 67 in Montreal. The
11192182
Francesco Demuro


the Berlin Staatsoper, the Wiener Staatsoper, and the Oper Frankfurt, and as the poet Rodolfo for the Seattle Opera in February/March 2013. Other appearances included those in "Maria Stuarda" staged by the ABAO-OLBE company in Bilbao in April 2013, another "Così" in San Francisco in June 2013, as Roméo in "Roméo et Juliette" in the Arena di Verona, and appearances as Fenton in San Francisco's October 2013 "Falstaff" came about. Demuro appeared as the Duke of Mantua in January
230600
Maurice Stern


as Rodolfo in "La Boheme" with The Syracuse Opera Company and with Arlington Opera, Roméo in "Roméo et Juliette" with Seattle Opera; Don Ottavio in "Don Giovanni" with Dayton Opera and Toledo Opera; Pinkerton in "Madama Butterfly" with Connecticut Opera, The Duke in "Rigoletto" with Hartford Opera, the title role in "Faust" with Connecticut Opera, and Gabriel von Eisenstein in "Die Fledermaus" with Dayton Opera, Columbus Opera and the Opera Guild of Greater Miami. Stern's second career
2408294
Stephen Costello


"Linda di Chamounix". That same season, he debuted at Lyric Opera of Chicago as Camille in "The Merry Widow" and at the Tchaikovsky Concert Hall in Moscow as Roméo in "Roméo et Juliette", the role of his subsequent San Diego Opera debut. Other notable roles include Christian in ""Cyrano"" with Opera Company of Philadelphia, the title role of "Roberto Devereux" at The Dallas Opera and Rinuccio in "Gianni Schicchi" at the Spoleto Festival conducted by James Conlon. On April 30
7865231
Cécilia Cara


very popular in her region and she soon gained popularity all over France with a TV show launching young artists. She finally came in 4th out of 500 candidates. Around the same time, a new musical was being born in France "Roméo et Juliette, de la Haine à l'Amour". The TV show's presenter immediately contacted the producers to introduce her. Almost at once, they knew they had found their Juliette. Cécilia was 16 when she debuted as Juliette in January 2001. She can speak French, Spanish,
8639464
Donald Smith (tenor)


the title role in "Faust", the Duke of Mantua ("Rigoletto"), Roméo ("Roméo et Juliette") and Canio ("Pagliacci"). Canio was a role for which Donald Smith became renowned throughout his long career. In 1952 he began two years of study at London's National School of Opera, after winning the Mobil Quest singing competition in Australia. After a brief period overseas in Italy and England, he returned to Australia, and sang with an Italian touring company in 1955,
126806
Jean de Reszke


Bizet's "Carmen", Roméo in Gounod's "Roméo et Juliette", and Wagner's Tristan in "Tristan und Isolde", Walther von Stolzing in "Die Meistersinger von Nürnberg" and Siegfried in "Siegfried". He also gave (in 1894) a single performance as the tenor lead in Massenet's "Werther". De Reszke's singing was admired by Queen Victoria, and between 1889 and 1900 he was invited to take part in a number of royal galas mounted at Covent Garden or command performances held
12973461
Charles Rousselière


Conservatoire de Paris. He was active in café-concert, and one of the stars of the Petit Ramponneau in Montmartre, run by Théophile Pathé, brother of Charles Pathé, through whom he recorded his first cylindres. He made his stage debut as Samson in Saint-Saëns's "Samson and Delilah" at the Paris Opera in 1900. He also appeared at the Metropolitan Opera in New York (where he debuted as Roméo in "Roméo et Juliette" in 1906) as well as in Berlin, Buenos Aires and
13920844
Agustarello Affre


Roméo in Gounod's "Roméo et Juliette" (1912) in the company's "Le Théâtre chez soi" ("Your Theater at Home") full-length opera and drama series. In 1911 he moved to the United States where he was heard in operas in New Orleans, San Francisco, and in Havana. He became director of the French Opera House in New Orleans in 1913 when it came under the ownership of Tulane University, remaining there until 1915. He died in Cagnes-sur-Mer in
14011215
Gregory Kunde


Rinaldo in "Armida", opposite Renée Fleming. Other notable roles include; "Mitridate, re di Ponto", Rodrigo in "La donna del lago", Arnold in "Guillaume Tell", Ernesto in "Don Pasquale", Nadir in "Les pêcheurs de perles", Roméo in "Roméo et Juliette", Enée in "Les Troyens" etc. In November 2012 he made an unexpected, successful debut as Verdi's "Otello" in Venice, becoming possibly the first tenor able to sing both Rossini
1576675
Roméo et Juliette (Berlioz)


powers and ambition. Its vivid scene-setting surpasses many operas, which constitutes an enormous success on Berlioz's part. Franz Liszt also recognised the significance of Berlioz as a progressive composer, and championed his music. Part I 1. Introduction: "Combats" (Combat) – "Tumulte" (Tumult) – Part II 2. "Roméo seul" (Romeo alone) – "Tristesse" (Sadness) – 3. "Scène d'amour" (Love scene) – "Nuit serène" (Serene night)
16364742
Richard Verreau


regularly with the Opera Guild of Montréal and the Théâtre lyrique de Nouvelle-France. He made his debut at the New York City Opera in 1956, as Wilhelm Meister in "Mignon", followed by his debut at the Metropolitan Opera as "Faust", in 1963. He appeared at the San Francisco Opera, as Roméo in "Roméo et Juliette". He also performed as soloist with the Montreal Symphony Orchestra and the New York Philharmonic Orchestra. Verreau was praised for the velvety quality of his voice, and his
19830133
André Turp


in several programs with the Canadian Broadcasting Corporation. A biographical note from Covent Garden·on his first appearance there revealed that he had appeared in twenty-one Offenbach operettas. His true operatic debut took place in 1956, at New Orleans, where he sang Roméo in "Roméo et Juliette", Rodolfo in "La Bohème", and Cavaradossi in "Tosca". He then appeared with the Opera Guild of Montreal, in the late 1950s, as Macduff in "Macbeth", and Fenton in "Falstaff". His major
3238269
Victor Capoul


took part in the performance of the prize cantata at the Conservatoire "Renaud dans les jardins d'Armide", words by Camille du Locle, music by Charles Lenepveu on 4 January 1866. In 1866 he was involved in a dispute between the Opéra-Comique and the Théâtre Lyrique, which was attempting to engage him—both for his voice and his looks—as Roméo in the premiere of Gounod's opera "Roméo et Juliette", the part eventually going to Michot. In the same year he saw success in the title
8974953
Lee Venora


through 1964, portraying such roles as Blanche in Francis Poulenc's "Dialogues of the Carmelites", Concepción in Maurice Ravel's "L'heure espagnole", Esmerelda in Bedřich Smetana's "The Bartered Bride", the Guardian of the Temple Gates in Strauss's "Die Frau ohne Schatten", Juliette in Charles Gounod's "Roméo et Juliette", Klingsor's Maiden in Richard Wagner's "Parsifal", Lauretta in Puccini's "Gianni Schicchi", Leila, Marzelline in Ludwig van Beethoven's "Fidelio", Micaëla
16463304
Irina Lungu


at the Royal Opera House in London, Donna Anna in "Don Giovanni" at Arena of Verona and at the La Quincena Festival of San Sebastian, Micaela in "Carmen" at the Teatro Regio in Turin and the Arena of Verona, Marguerite in "Faust" at La Monnaie of Brussels and in Turin, Juliette in "Roméo et Juliette" at the Arena of Verona, Mimì in "La bohème" at the Kolobov Novaya Opera Theatre in Moscow, as well as her debut at the Bolshoi Theatre of Moscow in
20563889
Andrée Esposito


"Il barbiere di Siviglia", the title role in "Lucia di Lammermoor", Gilda in "Rigoletto", Xenia in "Boris Godunov", Marguerite in "Faust", Juliette in "Roméo et Juliette", as well as Massenet's "Manon" and "Thais". She was also a very active recitalist, especially of French songs by Chausson and Duparc. She participated in the creation of many contemporary works, such as "Le chevalier de neige" by Delerue, "Andrea del Sarto"
2967037
Cristina Pasaroiu


Emmerich Kálmán's "Die Csárdásfürstin" and the title role of Cilea's "Adriana Lecouvreur". She is focused on French repertoire, such as Léïla in Bizet's "Les pêcheurs de perles", Antonia in Offenbach's "Les Contes d'Hoffmann", the title role of Massenet's "Manon", Marguerite in Gounod's "Faust" and Juliette in his "Roméo et Juliette". She appeared in the title role of Fromental Halévy's "La Juive" alongside Neil Shicoff, conducted by Frédéric Chaslin, at
14712729
Ruth Ann Swenson


Hamburg State Opera, the Bavarian State Opera and the Chicago Lyric Opera. Roles she has played include Liù in "Turandot", Rosina in "The Barber of Seville", the Four Heroines in "The Tales of Hoffmann", Elvira in "I Puritani", Zerbinetta in "Ariadne auf Naxos", Gilda in "Rigoletto" (49 performances at the Met alone), Juliette in "Roméo et Juliette" and Giulietta in "I Capuleti e i Montecchi", Violetta in "La traviata", Lucia
20743205
Sarah Crane


for the 2002/2003 season with the role of Marzelline in Beethoven's "Fidelio", the title role in Benedetto Marcello’s "Arianna" and Micaëla in Bizet’s "Carmen". She also performed the soprano solos for Frank Martin’s "Maria-Triptychon" as well as for Karol Szymanowski's "Stabat Mater" with the Philharmonic Orchestra Freiburg. When Crane returned to Australia, she sang for Opera Queensland Juliette in Charles Gounod's "Roméo et Juliette", Anna in Verdi's "Nabucco", and again Pamina
20980838
Janai Brugger


La Boheme" (2012), and Pamina in "The Magic Flute" (2013). In 2012, Brugger won the Metropolitan Opera National Council Auditions and was awarded the zarzuela prize and the "Prize of the Public at the Operalia, The World Opera Competition. Since then her career has flourished. In 2012, she made her debut with the Metropolitan Opera as Liu in "Turandot", her debut with the Palm Beach Opera as Juliette in "Roméo et Juliette", and appeared as both The First Lady
8710590
Frederick Burchinal


Pagliacci," Sharpless in "Madama Butterfly," Gerard "in Andrea Chénier," Michele in "Il tabarro," and Scarpia in "Tosca." While more associated with Italian opera, Burchinal was also a frequent interpreter of French opera at the Met, including the roles of Golaud in "Pelléas et" "Mélisande", the High Priest in Samson et Delilah, and Capulet in "Roméo et Juliette." In 1999 Burchinal sang the role of Henry Gatz in the world premiere of John Harbison's The
13138666
List of compositions and writings by Hector Berlioz


, "Les Noces des fées", "Les Brigands", "Hamlet", "Méphistophélès", "Roméo et Juliette", "Cléopâtre" and an opera based on the Thirty Years War; settings of verses by Édouard Turquety and Abbé Arnaud, Canon of Poitiers; and a Symphony in A Minor. Throughout his career Berlioz produced a large amount of music criticism, starting in 1823, writing articles in "Le corsaire" (1823–5), "Le correspondant" (1829–30), "Berliner allgemeine musikalische
14859679
Charles Gounod


which he is best known; and although it took a while to achieve popularity, it became one of the most frequently staged operas of all time, with no fewer than 2,000 performances of the work having occurred by 1975 at the Paris Opéra alone. The romantic and melodious "Roméo et Juliette" (based on the Shakespeare play "Romeo and Juliet"), premiered in 1867, is often in the repertoire of the world's opera houses but has never come close to matching "Faust"s popular following. "Mireille"
5547323
Hector King


him recognition in the press. Between 2007 and 2009 alone, King had five of his adaptations staged, all in Monterrey, Mexico: the Mexican premieres of "", "Footloose" and "Roméo et Juliette, de la Haine à l'Amour" and the new Mexican productions of "The Scarlet Pimpernel" and "RENT". Also during this period, Hector began collaborating with Lux Boreal, one of Mexico's most important contemporary dance companies, based in Tijuana, Mexico. In 2005 King wrote the score and songs
5827633
Serge Lifar


with Enrico Cecchetti. He made his debut at the Ballets Russes in 1923, where he became the principal dancer in 1925. Lifar was considered the successor to Nijinsky in the Ballets Russes. He was cast at the age of 21 opposite Tamara Karsavina in Nijinska's "Roméo et Juliette" (1926); Karsavina was twice his age. He originated leading roles in three Balanchine ballets for the Ballet Russes, including "La Chatte" (1927), with a score by French composer Henri Sauguet and based on an Aesop
6585076
Perry Askam


sang lead in several numbers, not surprising in that he was the only professional singer in the cast. Askam spent two seasons with the San Francisco Opera. Askam performed the role of Count Almaviva in the 1936 production of Mozart's "The Marriage of Figaro". He had two roles for San Francisco's 1937 season, both in works by Charles Gounod, first as Mercutio in his "Roméo et Juliette" and then as Valentin in "Faust". He joined the New York-based New Opera Company in 1941
8828038
Alexis Michalik


dramatique. His first stage role was as Roméo in 2001, in the play "Juliette et Roméo" directed by Irina Brook at the théâtre de Chaillot. In 2003, he was admitted to the Conservatoire national supérieur d'art dramatique (CNSAD) in Paris. However, he gave up his place to stage his first show, "Une folle journée", an adaptation of Mariage de Figaro by Beaumarchais. He created the show in 2005 at the festival d'Avignon Off in the théâtre des Corps Saints, playing the role of the
21513242
John Stewart (tenor)


Roberto in "Maria Stuarda", Rodolfo in "La bohème", and Roméo in "Roméo et Juliette". In 1974 Stewart joined the roster of artists at the Frankfurt Opera in Germany. He remained a member of that company up until his retirement from the stage in 1990. During his career he also sang the concert repertoire with major orchestras like the New York Philharmonic, the Philadelphia Orchestra, and the Cleveland Symphony, among others. In 1990 he moved with his wife, stage director Jolly Stewart, to St.
733712
Kirk Redmann


"), Lyric Opera of Kansas City (as Michele in "The Saint of Bleecker Street" and Roméo in "Roméo et Juliette"), Des Moines Metro Opera, Dicapo Opera Theatre, Il Piccolo Teatro, Long Beach Opera, Michigan Opera Theatre, Mississippi Opera, New Jersey State Opera, Opera Classics of New Jersey, New Orleans Opera Association ("La bohème"), Opera Omaha, Palm Beach Opera, San Diego Opera, Shreveport Opera, Treasure Coast Opera Society, and the Goldovsky Opera Institute.
8227797
Joseph Kaiser


Joseph Kaiser is a Canadian operatic tenor. In 2005, he won second prize in Plácido Domingo's Operalia International Opera Competition while competing as a baritone. The judges were keen to his talents and potential as a tenor, and proposed that he make the switch to tenor. He has performed as a soloist with the New York Metropolitan Opera, making his debut in October 2007 as Roméo in Charles Gounod's "Roméo et Juliette". In November he returned to the Met sing the role of Tamino Mozart's "Die Zauberflöte
8257624
Sine Bundgaard


since, among other roles, appeared as Michaëla in Georges Bizet’s "Carmen", Pamina in "The Magic Flute", the title role in Alban Berg’s "Lulu", Juliette in Charles Gounod’s "Roméo et Juliette", Nedda in Ruggero Leoncavallo’s "Pagliacci" and Donna Elvira in Mozart's "Don Giovanni." In 2004 the Danish Broadcasting Corporation chose her as its artist of the year. In 2005 she received the Aksel Schiøtz prize, and in 2006 the Elisabeth Dons memorial award. In
10413333
Eva Lind


Colin Davis, Kurt Masur, Bernard Haitink, René Jacobs, André Previn and Yehudi Menuhin. Lind appears extensively on stage performing soprano roles like Konstanze ("Die Entführung aus dem Serail"), Gilda ("Rigoletto"), Juliette ("Roméo et Juliette"), Amina ("La sonnambula"), Rosalinde ("Die Fledermaus"), Violetta ("La traviata"), Nedda ("Pagliacci") and many more. Besides opera, Lind's repertoire embraces a wide range of lieder
15346244
Ana María González (Spanish singer)


the title role in Massenet's "Manon", Anne Trulove in Stravinsky's "The Rake's Progress", and Juliette in Gounod's "Roméo et Juliette" (directed by Cecilio Madanes in the 1977 season and revived in the 1980s). In 1980 she was recognized as the best Argentine soprano of the season by the Asociación Verdiana Argentina. She returned to the theater in Buenos Aires in 1993 and played Antonia in "The Tales of Hoffmann" together with Canarian tenor Alfredo Kraus. Her international debut in Avignon in
19213597
Mady Mesplé


1953, as "Lakmé", a role with which she remained closely associated throughout her career, singing it an estimated 145 times. Lakmé was also her debut role at La Monnaie in Brussels in 1954. She quickly established herself in the standard lyric and coloratura roles of the French repertoire, such as Olympia in "Les contes d'Hoffmann", Philline in "Mignon", Leila in "Les pêcheurs de perles", Juliette in "Roméo et Juliette", Ophélie in "Hamlet", "Dinorah", "
19860711
Anna Netrebko


... Ah! non credea mirarti ... Ah! non giunge" from "La sonnambula", "Meine Lippen, sie küssen so heiß" ("Giuditta") and the song "Morgen!" by Richard Strauss (with violinist Joshua Bell). In the fall of 2007 she reprised her role as Juliette in "Roméo et Juliette" at the Metropolitan Opera, and in December Netrebko performed for Martin Scorsese, a 2007 Honoree, at the Kennedy Center Honors. That same year, she announced that she would be
3376566
Claire Gibault


"Pelléas et Mélisande", "Il Barbiere di Siviglia", "La Cenerentola", "Die Entführung aus dem Serail", "La Finta Giardiniera", "Roméo et Juliette" by Berlioz, "L'Orfeo" by Monteverdi, "Les Brigands" by Offenbach, "L'Heure espagnole" and "L'Enfant et les Sortilèges" by Ravel, Haydn's "Il Mondo della luna", Gluck's "Iphigénie en Tauride", "The Rape of Lucretia" by Britten and "Le Chapeau de paille d'Italie"
15200369
Bessie Abott


, and Mathilde Marchesi for the next three years. Bessie made her professional opera debut at the Palais Garnier in Paris as Juliette in Charles Gounod's "Roméo et Juliette". She remained committed to the Paris Opera for the next five years. At the Paris Opera she notably portrayed the Forest Bird in Richard Wagner’s "Siegfried" with her mentor, de Reszke, in the title role. Other roles she sang in Paris included Andreloun in Gounod's "Mireille" and Zerlina in Mozart's "Don Giovanni".
12644622
Bessie Abott


After leaving the Paris Opera, Abott was committed to the Metropolitan Opera in New York City from 1906–1908. She made her Met debut as Mimì in Puccini's "La boheme" under the baton of conductor Arturo Vigna on January 20, 1906. Other roles she sang with the Met included Gilda in Verdi's "Rigoletto", Juliette in Gounod's "Roméo et Juliette", Lady Harriet in Flotow's "Martha", Marguerite in Gounod's "Faust", Micaela in Bizet's "Carmen", and Violetta
12644623
Fanny Heldy


the Opéra-Comique in 1917 as Violetta in "La traviata." She portrayed Juliette in Charles Gounod's "Roméo et Juliette" at the Paris Opéra in 1920. In 1923, she made the historic (some say first) recording of the Jules Massenet opera "Manon" for Pathé Records. The orchestra was conducted by Henri Büsser, and Heldy sang with tenor Jean Marny as Chevalier des Grieux. In December of that year, she sang the title role in "Esclarmonde" by Massenet during the opera's revival
1359981
Stephen Dickson


title role. On November 4, 1982 Dickson made his debut at the San Francisco Opera as Prince Yeletsky in "The Queen of Spades" with Teresa Żylis Gara is Lisa and Regina Resnik as the Countess. He returned to San Francisco frequently over the next six years, singing such roles as Albert in "Werther" (with Alfredo Kraus in the title role and Renata Scotto as Charlotte), Mercutio in "Roméo et Juliette" (with Ruth Ann Swenson as Juliette), and Guglielmo (with Dénes Gulyás as Ferrando
14948945
Ailyn Pérez


the Deutsche Staatsoper and made her debut at La Scala in the same production. In 2010 she appeared as Mimì in "La bohème" at Cincinnati Opera and also sang the role at New York's Metropolitan Opera in 2016. Her repertory includes roles like the Countess in "Le nozze di Figaro", Juliette in "Roméo et Juliette", and Micaëla in "Carmen". Highlights in the 2018/19 season include Elvira in "Ernani" at Teatro alla Scala, Mimì in "La bohème" at the Metropolitan Opera,
15161379
Suzanne Adams


"Roméo et Juliette". She studied the roles of Juliette and Marguerite from "Faust" with Gounod himself, who greatly admired her fine technique, brilliant tone, and vocal flexibility. Adams remained at the Paris Opera for three years and then went to Nice. While in France she sang numerous roles by Gounod and Meyerbeer, as well as the Queen of the Night in Mozart's "The Magic Flute" and the title role in Gluck's "Orfeo ed Euridice". During the summer of 1898, she appeared
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