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Romeo and Juliet stage adaptations wikipedia pages
Romeo und Julie
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Georg Benda
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Romeo und Julie is a singspiel in three acts by composer Georg Benda. The opera has a German libretto by Friedrich Wilhelm Gotter that is based upon Christian Felix Weiße's translation of William Shakespeare's play Romeo and Juliet.
Gotter's libretto eliminates many of Shakespeare's characters and most of the original plays comedic elements. It does, however, adhere to unities of time and place. Gotter's text, also makes Julie the strongest and most important character in the opera, which is further reflected in Benda's score. Perhaps the most notable change Gotter made was the addition of a lieto fine at the end. In accordance with operatic tradition at that time, Gotter gave his version of Romeo and Juliet a happy ending. [1]
Contents
[hide] 1 Performance history
2 Roles
3 Synopsis 3.1 Act 1: Midnight in Julie's chambers at the Capulet palace
3.2 Act 2: Dawn in Julie's chambers at the Capulet palace
3.3 Act 3: The Capulet Mausoleum
4 Discography
5 References
Performance history[edit]
The opera was first performed on September 25, 1776 at the Hoftheater in the Schloss Friedenstein, Gotha, Germany.[2] The UK première was given in 2007 by Bampton Classical Opera, in English.
Roles[edit]
Romeo and Juliet with the Priest
Role
Voice type
Premiere cast,
September 25, 1776
(Conductor: – )
Capellet, a Veronan tenor
Julie, the daughter of Capellet soprano
Romeo Montecchi, the secret lover of Julie tenor
Francesco, Romeo's friend speaking role
Laura, a close friend of Julie soprano
Pater Lorenzo, a chaplain in the Capellet's house speaking role
a female speaking part, mourners, servants, messengers
Synopsis[edit]
Romeo and Juliet by Francesco Hayez
Deep rivalry and animosity exists between the Montagues and the Capulets, two noble families of Verona. Romeo Montague sneaks into the Capulet's palace to attend their masked ball in disguise. He meets Julie Capulet and the two fall in love. They decide to get married in the hopes that it will bring the family feud to an end. Friar Laurence, the Capulet family chaplain, marries them in secret. Soon after the wedding a street brawl results in the murder of Romeo’s friend Mercutio. Angry, Romeo attacks and kills his murderer, Tybalt Capulet who is Julie’s cousin. Romeo is banished to Mantua by the Duke of Verona.
Act 1: Midnight in Julie's chambers at the Capulet palace[edit]
Julie is impatiently awaiting for Romeo to meet her in her rooms. She is fearful that he may have already left for exile without seeing her. Julie's friend, Laura, waits with her trying to provide comfort. Julie worries about the motives of her aunt Camilla, whom she suspects is working against Romeo. Julie unkindly suggests that Laura may also be untrustworthy. Laura defends herself and Julie retracts. Romeo arrives soon after telling Julie he must leave for Mantua soon. Juliet is unhappy at the situation and has premonitions of death. Romeo tells her to have hope, but Julie is inconsolable and says it would be better for them to commit suicide together than be apart. Romeo calms her and the arrival of dawn forces them to part.
Act 2: Dawn in Julie's chambers at the Capulet palace[edit]
Laura watches over Julie as she sleeps. Julie’s father, Capulet, enters and who orders Laura to wake Julie up and then leave. He is suspicious that Julie's emotional behavior may not be over her cousin's death but Romeo's departure and is fearful that the two may be in love. Capulet informs his daughter that he has arranged her to marry Count Paris. Julie is dismayed and refuses to marry Paris outright. Enraged, Capulet threatens to disown her.
Laura returns and warns her of a plot hatched by Camilla which could result in her incarceration and forced marriage. Friar Laurence arrives and suggests a solution to Julie’s dilemma: a sleeping draught will make her appear dead and, once laid in the family vault, Romeo will be able to rescue her and take her away for ever. Left alone, Julie has visions of the horrors of the tomb and of Tybalt’s vengeful ghost. Nevertheless, for Romeo’s sake, she drinks Laurence’s potion.
Act 3: The Capulet Mausoleum[edit]
The Reconciliation of the Montagues and Capulets by Lord Frederic Leighton
The Capulet Family mourns over the body of Julie and she is laid in the mausoleum close to the corpse of Tybalt. Meanwhile, Romeo is greeted by his servant Francesco who has followed him on the road to Mantua to tell him of Julie’s death. Romeo resolves to enter the tomb to bid a final farewell to his bride, and then to kill himself. As he is about to stab himself, Julie revives and they sing a rapturous duet of joy. They are overheard by Laurence, who warns them to stay hidden in the tomb. He persuades Capulet to swear that he would accept Romeo Montague as his son-in-law if only his daughter could be restored to life. Immediately the fiction is revealed to be truth. True to his word, Capulet embraces Romeo amidst general rejoicing.
Discography[edit]
Romeo und Julie with conductor Hermann Breuer and the Thüringen-Gotha Symphony Orchestra. Cast includes: Claudia Taha (Julie), Joachim Keuper (Romeo), Andreas Näck (Capulet), Marisca Mulder (Laura), Theo Pfeifer (Francesco and Pater Lorenzo), and the Gotha Concert Choir. Released September 1, 1998.
References[edit]
1.Jump up ^ Romeo und Julie, singspiel: at Answers.com
2.Jump up ^ Benda – Romeo and Juliet – details
Amadeus Almanacco, accessed 1 April 2011
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William Shakespeare's Romeo and Juliet
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Categories: Operas
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Giulietta e Romeo (Vaccai)
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For the opera by Niccolò Antonio Zingarelli, see Giulietta e Romeo. For the musical, see Giulietta e Romeo (musical).
Nicola Vaccai
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Giulietta e Romeo (Romeo and Juliet) is an opera in two acts by the Italian composer Nicola Vaccai. The libretto, by Felice Romani, is based on the tragedy of the same name by Luigi Scevola and, ultimately, on the 1530 novella of the same name by Luigi da Porto. It was first performed at the Teatro alla Canobbiana, Milan on 31 October 1825. It was Vaccai's last major success, although he wrote another nine operas,[1] and is rarely performed in its full version today.
The opera was also first performed in Barcelona on 26 May 1827, Paris on 11 September 1827, Lisbon in the autumn of 1828, London on 10 April 1832, and Mexico in July 1841. It was first performed in Graz (in a German translation by I. C. Kollmann) on 12 October 1833 and Budapest (also in Kollmann's translation) on 31 July 1845.[1]
On 27 October 1832, during a performance of Bellini's I Capuleti e i Montecchi in Bologna, the next to last scene of Vaccai's opera was substituted for the last act of the Bellini opera. This was done at the request of the Romeo, Maria Malibran, and became frequent practice during the remainder of the 19th century. It was almost always done this way in Italy, and in this guise this portion of Vaccai's opera continued to be performed up to as late as 8 September 1897, when it was presented in this manner in Hamburg.[1][2]
Roles[edit]
Role
Voice type
Premiere cast
Giulietta soprano Joséphine de Méric
Romeo contralto (en travesti) Isabella Fabricca
Capellio tenor Giovanni Battista Verger
Adele soprano Adele Cesari
Tebaldo bass Raffaele Benedetti
Frate Lorenzo bass Luigi Biondini
References[edit]
Notes
1.^ Jump up to: a b c Loewenthal 1978, columns 697–698.
2.Jump up ^ Loewenthal 1978, column 725.
Sources
Del Teatro (in Italian)
Amadeus Online
Loewenberg, Alfred (1978). Annals of Opera 1597–1940 (third edition, revised). Totowa, New Jersey: Rowman and Littlefield. ISBN 978-0-87471-851-5.
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William Shakespeare's Romeo and Juliet
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Stub icon This article about an Italian language opera is a stub. You can help Wikipedia by expanding it.
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Categories: 1825 operas
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Roméo et Juliette (Berlioz)
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Handbill advertising the first performance of Roméo et Juliette.
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.[1] The score is Berlioz's most comprehensive and detailed programmatic piece.[2]
Contents
[hide] 1 Composition 1.1 Genesis
1.2 Realization
2 Performance
3 Instrumentation
4 Music
5 Influence
6 Structure
7 Bibliography
8 Discography 8.1 Complete
8.2 Excerpts
8.3 DVD
9 References
10 Sources
11 External links
Composition[edit]
Genesis[edit]
Initial inspiration came from a performance he witnessed in 1827 of Romeo and Juliet (in David Garrick's edited version) at the Odéon Theatre in Paris. The cast included Harriet Smithson, who also inspired Berlioz's Symphonie fantastique. In his Memoirs, Berlioz describes the electrifying effect of the drama:
... to steep myself in the fiery sun and balmy nights of Italy, to witness the drama of that passion swift as thought, burning as lava, radiantly pure as an angel's glance, imperious, irresistible, the raging vendettas, the desperate kisses, the frantic strife of love and death, was more than I could bear. By the third act, scarcely able to breathe—it was as though an iron hand had gripped me by the heart—I knew that I was lost. I may add that at the time I did not know a word of English; I could only glimpse Shakespeare darkly through the mists of Letourneur's translation; the splendour of the poetry which gives a whole new glowing dimension to his glorious works was lost on me. ... But the power of the acting, especially that of Juliet herself, the rapid flow of the scenes, the play of expression and voice and gesture, told me more and gave me a far richer awareness of the ideas and passions of the original than the words of my pale and garbled translation could do.[3]
The range of feeling and mood as well as poetic and formal invention which Berlioz found in Shakespeare[4] had a strong influence on his music, making a direct musical setting 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.[5] 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 1830-32. 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").[6]
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, outlining in passing how he would compose music for the Roméo et Juliette story: it would feature, he says, the swordfight, 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.[6]
Realization[edit]
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 a performance of Harold en Italie at the Paris Conservatoire on 16 December 1838, the great virtuoso had publicly knelt before Berlioz and hailed him as the heir of Beethoven. Sadly, Paganini died shortly after, and did not read or hear the piece. Berlioz used the money primarily to repay his debts, and afterwards was still left with "a handsome sum of money", which he used to allow himself to put his full focus towards working on "a really important work", unobstructed by his usual time-consuming obligations as a critic.[7] Berlioz finished the score on 8 September 1839.[8]
The work's libretto is not sourced from the original plays, and as a result contains inaccuracies, both in the version Berlioz worked from, and subsequent cuts he and his librettist made. Berlioz's composition was heavily influenced by the play he had seen acted by Charles Kemble and Harriet Smithson in 1827, which had been rewritten by the 18th century actor David Garrick to have Juliet awaken from her death-like sleep before Romeo's death from (a much slower acting) poison. Berlioz enlisted the services of author Emile Deschamps to write the libretto. Between them they also left out the character of the nurse and expanded Shakespeare's brief mention of the two families' reconciliation into a substantial vocal finale.[4]
Berlioz's developed a special predilection for the symphony over his career, writing in his memoirs that one movement in particular became a favorite: "If you now ask me which of my pieces I prefer, my answer will be that I share the view of most artists: I prefer the adagio (the Love Scene) in Romeo and Juliet."[9]
Performance[edit]
From composition until the first performance, Berlioz's time was occupied with physical arrangements for the premiere: parts were copied, chorus parts lithographed, and rehearsals got underway. The bass-baritone, Adophe-Louis Alizard (Friar Lawrence), and the Prologue chorus, all of whom came from the Paris Opéra, were prepared during the intermissions of performances there.[6] There was much anticipation in Paris prior to the first performance. In the rehearsals, Berlioz pioneered the practice of orchestral sectionals, rehearsing the different sections of the orchestra separately to better prepare them for the challenging piece. This was followed by two full orchestra rehearsals to polish up the details.[6] The Roméo was the tenor Alexis Dupont, and the Juliette was a contralto whose name appears variously as Mme Wideman or Widemann, or Mlle Wiedemann.
It was first performed in three concerts conducted by Berlioz at the Paris Conservatoire with an orchestra of 100 instruments and 101 voices[10] on 24 November, 1 December and 15 December 1839, before capacity audiences that comprised much of the Parisian intelligentsia. Another notable audience member was Richard Wagner.[5] Reactions to the piece were quite varied, as could be expected for a radical work. However, it was widely acknowledged that Berlioz had scored a major triumph in these first performances; a "tour de force such as only my system of sectional rehearsals could have achieved".[4] Berlioz comments: "The work as it was then [in 1839] was performed three times at the Conservatoire under my direction and, each time, appeared to be a genuine success. But I felt at once that much would have to be changed, and I went over it carefully and critically from every point of view."[11] He continued to revise the work, a few instances upon the suggestions of critics, but generally by his own judgement.
A premiere of a later revision (including cuts and changes to the Prologue, Queen Mab Scherzo, and the Finale) was held in Vienna on 2 January 1846, the first performance since 1839 and the first abroad. After hearing a complete performance in Vienna on 26 January 1846, Berlioz took the opportunity to make major revisions before a performance scheduled for the following April in Prague. He accepted advice from several confidants and advisers, rewriting the coda of the Queen Mab Scherzo, shortening Friar Laurence's narrative at the end, deleting a lengthy second Prologue at the beginning of the second half, and introducing musical foreshadowing in the first prologue.[6] The full score was not published until 1847.[12]
Reflecting on the first performances, Berlioz commented in his memoirs:
The work is enormously difficult to perform. It poses problems of every kind, problems inherent in the form and in the style and only to be solved by long and patient rehearsal, impeccably directed. To be well done, it needs first-rate performers—players, singers, conductor—intent on preparing it with as much care as a new opera is prepared in a good opera house, in fact almost as if it were to be performed by heart.[13]
Instrumentation[edit]
The score calls for:
piccolo, 2 flutes, 2 oboes (one doubling cor anglais), 2 clarinets, 4 bassoons
4 horns, 2 cornets, 2 trumpets, 3 trombones, bass tuba
2 pairs of timpani, 2 snare drums, bass drum, cymbals, crotales
2 harps
strings
Music[edit]
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.[4] 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 cemetery scenes, the dialogue of the two lovers, Juliet's asides, and Romeo's passionate outbursts are not sung, if the duets of love and despair are given to the orchestra, the reasons for this are numerous and easy to understand. First, and this reason alone would be sufficient, it is a symphony and not an opera. Second, since duets of this nature have been treated vocally a thousand times by the greatest masters, it was wise as well as unusual to attempt another means of expression.[14]
The vocal forces are used sparingly throughout, until they are fully deployed in the finale.[4] The exceptional virtuosity deployed in the orchestral writing seems particularly appropriate for the dedicatee of the work, Paganini himself, who was never able to hear it, much to Berlioz's regret.[12] Further examples of Berlioz's inventiveness are shown in the use of thematic links throughout the piece, somewhat laying the ground for the Wagnerian leitmotif, for example the last solo notes of the oboe which follow Juliet's suicide echo a phrase from the earlier funeral procession when she was thought to be dead.[4] Berlioz signed and dated his autograph on 8 September 1839.[6] The final score was dedicated to Paganini.[15]
The stylistic links of the work with Beethoven before (and Wagner after) could not be stronger. From Beethoven, Berlioz learned the very notion of programmatic music. He saw in the Pastoral symphony how music might be depictive without being naïve, in the symphonic scherzi how the delicate Queen Mab might best be evoked, and in the 9th symphony how effective a choral finale could be. He sensed Beethoven's flexibility with regard to number of movements and the performing force.[6]
Influence[edit]
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. And Roméo et Juliette was the one of Berlioz's works he knew best. Indeed, their second and last meeting was on the occasion 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 Romeo and Juliet cannot be denied.[6] Moreover, in 1860, he sent Berlioz the published full score of Tristan und Isolde inscribed merely:
Au grand et cher auteur de
Roméo et Juliette
L'auteur reconnaissant de
Tristan et Isolde.[6]
(To the dear and great author of
Romeo and Juliet
from the grateful author of
Tristan and Isolde.)[16]
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 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.
Structure[edit]
Part I
1. Introduction: Combats (Combat) - Tumulte (Tumult) -
Intervention du prince (Intervention of the prince) -Prologue - Strophes - Scherzetto
Part II
2. Roméo seul (Romeo alone) - Tristesse (Sadness) -
Bruits lointains de concert et de bal (Distant sounds from the concert and the ball) -Grande fête chez Capulet (Great banquet at the Capulets)
3. Scène d'amour (Love scene) - Nuit serène (Serene night) -
Le jardin de Capulet silencieux et déserte (The Capulets' garden silent and deserted) -Les jeunes Capulets sortant de la fête en chantant des réminiscences de la musique du bal (The young Capulets leaving the banquet singing snatches of music from the ball)
4. Scherzo: La reine Mab, reine des songes (Queen Mab, the queen of dreams – the Queen Mab Scherzo)
Part III
5. Convoi funèbre de Juliette (Funeral cortège for the young Juliet): "Jetez des fleurs pour la vierge expirée" ("Throw flowers for the dead virgin")
6. Roméo au tombeau des Capulets (Romeo at the tomb of the Capulets) -
Invocation: Réveil de Juliette (Juliet awakes) - Joie délirante, désespoir (Delirious joy, despair) -Dernières angoisses et mort des deux amants (Last throes and death of the two lovers)
7. Finale:
La foule accourt au cimetière (The crowd rushes to the graveyard) -Des Capulets et des Montagus (Fight between the Capulets and Montagues) -Récitatif et Air du Père Laurence (Friar Lawrence's recitative and aria) Aria: "Pauvres enfants que je pleure" ("Poor children that I weep for") -Serment de réconciliation (Oath of reconciliation) Oath: "Jurez donc par l'auguste symbole" ("Swear by the revered symbol")
Bibliography[edit]
Berlioz: Roméo et Juliette: Julian Rushton, 129pp, Cambridge University Press, 26 August 1994. ISBN : 0521377676, ISBN : 978-0521377676
Berlioz's Semi-Operas: Roméo et Juliette and La Damnation de Faust: Daniel Albright, 204pp, University of Rochester Press, September 2001. ISBN : 1580460941, ISBN : 978-1580460941
Discography[edit]
Complete[edit]
Roméo et Juliette; Nuits d'été: Janet Baker, Jessye Norman. John Barbirolli & Riccardo Muti cond., Philadelphia Orchestra, New Philharmonia Orchestra. 2 CDs, DDD, EMI Classics, 11 August 1998. ASIN: B000009OQO
Roméo et Juliette; Les Nuits d'été: Denis Sedov, Melanie Diener, Kenneth Tarver. Pierre Boulez cond., Cleveland Orchestra. 2 CDs, DDD, Deutsche Grammophon, 14 October 2003. ASIN: B00008NR4P
Roméo et Juliette; Symphonie Fantastique: Andre Turp. Pierre Monteux & René Leibowitz cond., London Symphony Orchestra, Wiener Staatsopernorchester. 2 CDs, ADD, Deutsche Grammophon (originally Westminster), 23 November 2001. ASIN: B00005RIH4
Roméo et Juliette: Robbin, Fouchecourt, Cachemaille. John Eliot Gardiner cond., Orchestre Révolutionnaire et Romantique, Monteverdi Choir. 2 CDs, DDD, Philips/PolyGram, 14 April 1998. ASIN: B0000069CM
Roméo et Juliette: Daniela Barcellona, Orlin Anastassov, Kenneth Tarver. Colin Davis cond., London Symphony Orchestra. 2 CDs, DDD, LSO Live, 1 January 2000. Cat. no: LSO0003, UPC: 822231100324, ASIN: B00004XR87
Roméo et Juliette; Bizet - Carmen & L'Arlésienne Suites: Nicola Moscona, Gladys Swarthout. Arturo Toscanini cond., NBC Symphony Orchestra. 2 CDs, ADD, RCA Records. ASIN: B000003EX4
Roméo et Juliette: Olga Borodina, Thomas Moser, Alastair Miles. Colin Davis cond., Wiener Philharmoniker, Bavarian Radio Chorus. 2 CDs, DDD, Philips Classics Records, 1 September 1996. ASIN: B00000418S
Roméo et Juliette; Symphonie Fantastique: Rosalind Elias. Charles Münch cond., Boston Symphony Orchestra, New England Conservatory Chorus. 2 CDs, RCA Records, 20 May 2003. ASIN: B000024HIJ
Roméo et Juliette; Les nuits d'été: Harvard Glee Club and Radcliffe Choral Society, Margaret Roggero, Leslie Chabay, and Yi-Kwei Sze, Charles Münch cond., Boston Symphony Orchestra. 2 CDs, RCA Records, 14 April 1992. ASIN: B000003F2S
Berlioz: Complete Orchestral Works: John Shirley-Quirk, Robert Tear, Sir Colin Davis cond., London Symphony Orchestra, John Alldis Choir, Phillips, 1968. ASIN: B0017MU60E
Excerpts[edit]
Roméo et Juliette; Le Troyens à Carthage: Frank Almond & Yoav Talmi cond., San Diego Symphony Orchestra, San Diego Master Chorale. CD, DDD, Naxos, 22 August 1995. Cat. no: 8.553195, Barcode: 0730099419529, ASIN: B000001460
Roméo et Juliette; L'enfance du Christ: Victoria de los Ángeles, Nicolai Gedda. André Cluytens & Carlo Maria Giulini cond., Chicago Symphony Orchestra, Orchestre de la Société des Concerts du Conservatoire. 2 CDs, ADD, EMI Classics/Angel, 19 November 1996. ASIN: B000002SCH
Roméo et Juliette; Requiem; Mort de Cléopâtre: Jennie Tourel, Stuart Burrows. Leonard Bernstein cond., New York Philharmonic, Orchestre National d'Ile de France, Orchestre Philharmonique de Radio France. 2 CDs, ADD, Sony, 28 July 1992. ASIN: B0000027LZ
Roméo et Juliette; Symphonie Fantastique: Charles Münch cond., Orchestre National et Choeurs de la RTF. 2 CDs, Cascavelle, 26 April 2007. ASIN: B000P2A4YU (more information needed)
Roméo et Juliette; Symphonie Fantastique: André Cluytens, Orchestre National de la Radiodiffusion, Française Orchestre du Théâtre National de l'Opéra. CD, Testament, 25 February 2002. Cat. no: SBT1234 , ASIN: B000060K9F
DVD[edit]
Roméo et Juliette: Hanna Schwarz, Philip Langridge, Peter Meven. Colin Davis cond., Bavarian Radio Symphony Orchestra. DVD, Arthaus Musik, 1h42m, 21 March 2006. Cat. no: 102017, Barcode: 807280201796, ASIN: B000E5LHLM
References[edit]
1.Jump up ^ Cambridge.org | Roméo et Juliette handbook
2.Jump up ^ CarringBush.net Berlioz page
3.Jump up ^ Berlioz; Cairns (2002), pp. 72–73.
4.^ Jump up to: a b c d e f "Meet the Phil" - "Romeo and Juliet - Berlioz" (6 April 2006). BBC Philharmonic website at the Wayback Machine (archived February 26, 2008)
5.^ Jump up to: a b BBC Proms | About the Music
6.^ Jump up to: a b c d e f g h i Roméo et Juliette programme notes Public domain: see here
7.Jump up ^ Berlioz; Cairns (2002), pp. 240–246.
8.Jump up ^ Cairns (1999), p. 192.
9.Jump up ^ Berlioz; Cairns (2002), p. 526.
10.Jump up ^ Holoman (1989), p. 201.
11.Jump up ^ Berlioz; Cairns (2002), p. 245.
12.^ Jump up to: a b HBerlioz.com | Berlioz reference site
13.Jump up ^ Berlioz; Cairns (2002), p. 246.
14.Jump up ^ Roméo et Juliette: Berlioz's Avant-propos and Observations
15.Jump up ^ Kennedy Center | Programme notes
16.Jump up ^ Cairns (1999), p. 650.
Sources[edit]
Berlioz, Hector; Cairns, David, translator and editor (2002). The Memoirs of Hector Berlioz. New York: Alfred A. Knopf. ISBN 978-0-375-41391-9.
Cairns, David (1999). Berlioz. Volume Two. Servitude and Greatness 1832–1869. London: Allen Lane. The Penguin Press. ISBN 978-0-7139-9386-8.
Holoman, D. Kern (1989). Berlioz, p. 201. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-06778-3.
Macdonald, Hugh (1982). Berlioz, The Master Musicians Series. London: J. M. Dent. ISBN 978-0-460-03156-1.
External links[edit]
Creative Commons Recording (MP3: 105kbit/s VBR)
HBerlioz.com | Roméo et Juliette analysis
CarringBush.net | Roméo et Juliette analysis
Charlotte Symphony. Programme notes (PDF) at the Wayback Machine (archived September 28, 2007)
Roméo et Juliette (Berlioz): Free scores at the International Music Score Library Project
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Categories: Choral symphonies
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1839 compositions
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Roméo et Juliette
From Wikipedia, the free encyclopedia
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For other works based on this story, see Romeo and Juliet (disambiguation).
Charles Gounod
Charles Gounod 1859 - Huebner 1990 plate2.jpg
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Roméo et Juliette (Romeo and Juliet) is an opéra in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on The Tragedy of 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.[1]
Contents
[hide] 1 Performance history
2 Critical reception
3 Roles
4 Synopsis 4.1 Act 1
4.2 Act 2
4.3 Act 3
4.4 Act 4
4.5 Act 5
5 References
6 External links
Performance history[edit]
Gounod's opera Faust had become popular at the Théâtre Lyrique since its premiere in 1859 (it was performed over 300 times between 1859 and 1868) and this led to a further commission from the director Carvalho.[2] Behind the scenes there were difficulties in casting the lead tenor, and Gounod was said to have composed the last act twice, but after the public general rehearsal and first night it was hailed as a major success for the composer. Its success was aided by the presence of dignitaries in Paris for the Exhibition, several of whom attended performances. A parody soon appeared at the Théâtre Déjazet, entitled Rhum et eau en juillet (Rum and Water in July).[2]
Jean de Reszke as Roméo
(Paris, 1888)
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.[3] On 28 November 1888 Roméo et Juliette transferred to the Paris Opéra, with Adelina Patti and Jean de Reszke in the leading roles.[3] The opera was first seen in London (with 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.[4]
Critical reception[edit]
Sutherland Edwards, music critic of the St. James's Gazette, wrote the following about the opera following its first London performance in 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 an admirable opera for Giulietta; in which Romeo is not forgotten.[5]
Roles[edit]
Role
Voice type
Premiere Cast, 27 April 1867
(Conductor: Adolphe Deloffre)
Juliette soprano Marie Caroline Miolan-Carvalho
Roméo, son of Montaigu tenor Pierre-Jules Michot
Frère Laurent bass Jean Cazaux
Mercutio, Romeo's friend baritone Auguste-Armand Barré
Stéphano, Romeo's page soprano,
(trouser role) Joséphine Daram
Count Capulet bass Étienne Troy
Tybalt, Lady Capulet's nephew tenor Jules-Henri Puget
Gertrude, Juliet's nurse mezzo-soprano Eléonore Ragaine-Duclos
The Duke bass Émile Wartel
Pâris, a young count baritone Laveissière
Grégorio, Capulet's servant baritone Étienne Troy
Benvolio, Montague's nephew tenor Pierre-Marie Laurent
Frère Jean bass Neveu
Male and female retainers and kinsmen of the Houses of Capulet and Montague, maskers
Synopsis[edit]
The libretto follows the story of Shakespeare's play.
Act 1[edit]
Adelina Patti and Mario in Act 2 (London, 1867)
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 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.
Act 2[edit]
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.
Act 3[edit]
Press illustration of Act 3, scene 2, as staged in the original production
Scene 1: Laurent's cell
Roméo and Juliette, accompanied by Gertrude, go to the cell, and the wedding takes place. Laurent hopes 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.
Act 4[edit]
Juliet's room at dawn
Roméo and Juliette are together 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.]
Act 5[edit]
Juliet's tomb
Roméo breaks into the tomb after having taken poison because he believes that Juliette is dead. When she awakes from the friar’s potion, the lovers' last duet is heard before the poison takes effect on Roméo. As her bridegroom weakens Juliette stabs herself, to be united with her lover in death.
References[edit]
Notes
1.Jump up ^ Huebner S. The Operas of Charles Gounod. Oxford, Oxford University Press, 1992.
2.^ Jump up to: a b Walsh TJ. Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870. John Calder Ltd, London, 1981.
3.^ Jump up to: a b Wolff, Stéphane. Un demi-siècle d'Opéra-Comique 1900–1950. André Bonne, Paris, 1953.
4.Jump up ^ Kobbé, Gustave. Kobbé's Complete Opera Book, ed Harewood. Putnam, London & New York, 1954.
5.Jump up ^ Quoted in Rosenthal 1958, p. 150.
SourcesRosenthal, Harold (1958). Two Centuries of Opera at Covent Garden. London: Putnam. OCLC 593682 and 503687870.
External links[edit]
Roméo et Juliette: Free scores at the International Music Score Library Project
Libretto of Roméo et Juliette in French and English
Roméo et Juliette synopsis and role table {charles-gounod.com)
Synopsis of Roméo et Juliette (The Metropolitan Opera)
Facsimile of Gounod's ms at Juilliard library showing revisions to the end of Act 3 and opening of Act 4.
"Ah! Je veux vivre!", Juliette's aria sung by Milica Ilic (Official YouTube channel of ABC Classics)
Blood, Revenge, and Safety on Stage: An Explication of a Stage Duel in Gounod’s Romeo et Juliette An article by Meron Langsner in the Journal of Theatrical Combatatives
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Categories: French-language operas
Operas by Charles Gounod
1867 operas
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Romeo and Juliet (Tchaikovsky)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Romeo and Juliet, TH 42, ČW 39, is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. Like other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The Tempest and Hamlet as well.
Unlike Tchaikovsky's other major compositions, Romeo and Juliet does not have an opus number.[1] It has been given the alternative catalogue designations TH 42[2] and ČW 39.[3]
Contents
[hide] 1 Musical structure
2 Composition 2.1 Tense relationship
2.2 First version
2.3 Second version
2.4 Third and final version
3 Reception
4 Use in popular culture
5 Bibliography
6 References
7 External links
Musical structure[edit]
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (August 2008)
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Although styled an 'Overture-Fantasy' by the composer, the overall design is a symphonic poem in sonata form with an introduction and an epilogue. The work is based on three main strands of the Shakespeare story. The first strand, written in F-sharp minor, following Mily Balakirev's suggestion, is the introduction representing the saintly Friar Laurence. Here there is a flavour of Russian Orthodoxy,[citation needed] but also a foreboding of doom from the lower strings.[citation needed] The Friar Laurence theme is heard in F minor, with plucked strings, before ending up in E minor. The introduction is chorale-like.
An 1870 oil painting by Ford Madox Brown depicting Romeo and Juliet's famous balcony scene
Eventually a single B minor chord with a D natural in the bass passed back and forth between strings and woodwinds grows into the second strand in B minor, the agitated theme of the warring Capulets and Montagues, including a reference to the sword fight, depicted by crashing cymbals. There are agitated, quick sixteenth notes. The forceful irregular rhythms of the street music point ahead to Igor Stravinsky and beyond.[citation needed] The action suddenly slows, the key changing from B minor to D-flat (as suggested by Balakirev) and we hear the opening bars of the "love theme", the third strand, passionate and yearning in character but always with an underlying current of anxiety.[citation needed]
The love theme signifies the couple first meeting and the scene at Juliet's balcony. The English horn represents Romeo, while the flutes represent Juliet. Then the battling strand returns, this time with more intensity and build-up, with the Friar Laurence Theme heard with agitation. The strings enter with a lush, hovering melody over which the flute and oboe eventually soar with the love theme once again, this time loud and in D major, signaling the development section and their consummated marriage, and finally heard in E major, and two large orchestra hits with cymbal crashes signal the suicide of the two lovers. A final battle theme is played, then a soft, slow dirge in B major ensues, with timpani playing a repeated triplet pattern, and tuba holding a B natural for 16 bars. The woodwinds play a sweet homage to the lovers, and a final allusion to the love theme brings in the climax, beginning with a huge crescendo B natural roll of the timpani, and the orchestra plays homophonic shouts of a B major chord before the final bar, with full orchestra belting out a powerful B natural to close the overture.[citation needed]
Composition[edit]
Tchaikovsky at the time he wrote "Romeo and Juliet."
Tense relationship[edit]
In 1869 Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in St. Petersburg. Fatum received only a lukewarm reception. Balakirev wrote a detailed letter to Tchaikovsky explaining the defects, but also giving some encouragement:
Your Fatum has been performed [in St. Petersburg] reasonably well ... There wasn't much applause, probably because of the appalling cacophony at the end of the piece, which I don't like at all. It is not properly gestated, and seems to have been written in a very slapdash manner. The seams show, as does all your clumsy stitching. Above all, the form itself just does not work. The whole thing is completely uncoordinated.... I am writing to you with complete frankness, being fully convinced that you won't go back on your intention of dedicating Fatum to me. Your dedication is precious to me as a sign of your sympathy towards me—and I feel a great weakness for you.
M. Balakirev—who sincerely loves you.[4]
Tchaikovsky was too self-critical not to see the truth behind Balakirev's comments. He accepted Balakirev's criticism, and the two continued to correspond. (Tchaikovsky later destroyed the score of Fatum. The score was reconstructed posthumously from the orchestral parts.)[5] Balakirev remained suspicious of anyone with a formal conservatory training but clearly recognized Tchaikovsky's great talents.[6] Tchaikovsky liked and admired Balakirev. However, as he told his brother Anatoly, "I never feel quite at home with him. I particularly don't like the narrowness of his musical views and the sharpness of his tone."
Balakirev suggested Tchaikovsky write a piece based on William Shakespeare's Romeo and Juliet. Tchaikovsky was having difficulties writing an opera entitled Undine, which he would eventually destroy. Though he complained, "I'm completely burned out," Balakirev persisted, as was his manner. Balakirev wrote suggestions about the structure of Romeo and Juliet, giving details of the type of music required in each section, and even opinions on which keys to use.[7]
Balakirev had suggested his own overture King Lear as a model for Romeo—a prudent move, since he had seen Tchaikovsky's weakness in writing in an unstructured musical form in Fatum. King Lear is not a symphonic poem in the manner of Liszt. It is a tragic overture in sonata form along the line of Beethoven's overtures, relying more on the dramatic potential of sonata form rather than on a literary program. Thus, Balakirev had transformed King Lear into an instrumental drama and now offered it as a model to Tchaikovsky.[8] While basing Romeo and Juliet on King Lear was Balakirev's suggestion, reducing the plot of the former to one central conflict and then combining it with the binary structure of sonata form was Tchaikovsky's idea. However, executing that plot in the music we know today came only after two radical revisions.[9]
Mily Balakirev around the time Tchaikovsky met him.
First version[edit]
The first version of Romeo and Juliet contained basically an opening fugato and a confrontation of the two themes—exactly what an academically trained composer might be expected to produce. While Balakirev responded to the love theme by writing Tchaikovsky, "I play it often, and I want very much to hug you for it",[10] he also discarded many of the early drafts Tchaikovsky sent him—the opening, for instance, sounded more like a Haydn quartet than the Liszt chorale he had suggested initially—and the piece was constantly in the mail between Moscow and St. Petersburg, going to Tchaikovsky or Balakirev.[11]
Tchaikovsky accepted some, but not all, of Balakirev's nagging, and completed the work, dedicating it to Balakirev. The first performance on March 16, 1870 was hindered by a sensational court case surrounding the conductor, Tchaikovsky's friend Nikolai Rubinstein, and a female student. The court had found against the eminent musician the previous day, and this incited a noisy demonstration in his favour when he appeared on the concert platform, which proved much more interesting to the audience than the new overture. The result was not encouraging as a premiere for Romeo and Juliet.[12] Tchaikovsky said of the premiere:
"After the concert we dined.... No one said a single word to me about the overture the whole evening. And yet I yearned so for appreciation and kindness."[13]
Second version[edit]
The initial failure of Romeo and Juliet induced Tchaikovsky to fully accept Balakirev's criticisms and rework the piece. It also forced Tchaikovsky to reach beyond his musical training and rewrite much of the music into the form we know it today. This included the unacademic but dramatically brilliant choice of leaving the love theme out of the development section, saving its confrontation with the first theme (the conflict of the Capulets and Montagues) for the second half of the recapitulation. In the exposition, the love theme remains shielded from the violence of the first theme. In the recapitulation the first theme strongly influences the love theme and ultimately destroys it. By following this pattern, Tchaikovsky shifts the true musical conflict from the development section to the recapitulation, where it climaxes in dramatic catastrophe.[11]
Meanwhile, Rubinstein had become impressed with Tchaikovsky's compositional talents in general and with Romeo and Juliet in particular. He arranged for the publishing house Bote and Bock to publish the piece in 1870. This was considered an accomplishment since Tchaikovsky's music was virtually unknown in Germany at the time. Balakirev thought Tchaikovsky was rushing Romeo and Juliet to press prematurely. "It is a pity that you, or rather Rubinstein, should have rushed the publication of the Overture," he wrote to the composer. "Although the new introduction is a decided improvement, there were other changes I had wanted you to make. I had hoped that for the sake of your future compositions, this one would remain in your hands somewhat longer." Balakirev closed by hoping that P. Jurgenson would sometime agree to bring out a "revised and improved version of the Overture."[14] The second version was premiered in St. Petersburg on February 17, 1872, under Eduard Nápravník.
Third and final version[edit]
In 1880, ten years after his first reworking of the piece, Tchaikovsky rewrote the ending and gave the piece the sub-title "Overture-Fantasia". It was completed by September 10, 1880, but did not receive its premiere until May 1, 1886, in Tbilisi, Georgia (then part of the Russian Empire), under Mikhail Ippolitov-Ivanov.
This third and final version is the one that is now in the repertoire. The earlier versions are performed occasionally as historical curiosities.
Reception[edit]
At first Romeo and Juliet was not successful in Russia or Europe. It was received lukewarmly at its world premiere in March 1870.[15] The work was hissed when Hans Richter conducted it in Vienna in November 1876; critic Eduard Hanslick excoriated the piece afterwards.[16] The Paris premiere two weeks later, at the Concerts Populaires under Jules Pasdeloup, went no better.[16] According to Tchaikovsky's colleague and friend Sergei Taneyev, who attended the Paris performance, Romeo's lack of success there may have been due to Pasdeloup's failure to understand the music.[16] Despite this, several Parisian composers and musicians, including Camille Saint-Saëns, appreciated the piece.[16]
One group that appreciated Romeo at once was the kuchka ("The Five"). Balakirev, now having the full score, wrote of their enthusiastic response and 'how delighted everyone is with your D-flat bit [the love theme]—including Vladimir Stasov, who says: "There were five of you: now there are six!" The beginning and end are as strongly censured'—and, Balakirev added, needed rewriting. Still, such was the enthusiasm of the kuchka for Romeo that Balakirev was asked to play it every time they met. Eventually, he learned to play the piece from memory as a result of fulfilling their requests.[17]
Use in popular culture[edit]
The Overture's love theme has been used in many television series and movies such as Columbo, Kim Possible, The Jazz Singer (1927), Wayne's World, Animaniacs, Freakazoid, Pinky and the Brain, Road Rovers, Taz-Mania, Tiny Toons, Scrubs, Seeing Double, The Ren and Stimpy Show, South Park, Clueless, A Christmas Story, The Fresh Prince of Bel-Air, Moonraker, SpongeBob SquarePants, Pushing Daisies, Sesame Street, El Chavo, The Three Musketeers, among others.
Different variations of the overture's love theme were also played in the original The Sims video game, when two Sims successfully performed the "Kiss" interaction. How "powerful" the theme was depended on how compatible, or how in love, the interacting Sims were with each other.
Along with another Tchaikovsky piece, Dance of the Reed Flutes from the ballet The Nutcracker, the Romeo and Juliet love theme was sampled at the same time to the song "Love, so Lovely" for the direct-to-video Disney film Mickey, Donald, Goofy: The Three Musketeers.
Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman.
Romeo and Juliet Overture
Performed by the Skidmore College Orchestra, courtesy of Musopen
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Problems playing this file? See media help.
The main theme of the overture to Romeo and Juliet was adapted in 1939 by bandleader Larry Clinton as popular song "Our Love" (lyrics by Buddy Bernier and Bob Emmerich) and recorded by Clinton and by Jimmy Dorsey.[18]
Bibliography[edit]
Brown, David, Tchaikovsky: The Early Years, 1840-1874 (New York: W.W. Norton & Company, 1978). ISBN 0-393-07535-2.
Brown, David, Tchaikovsky: The Crisis Years, 1874–1878 (New York: W.W. Norton & Company, 1983). ISBN 0-393-01707-9.
Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995). ISBN 0-679-42006-1.
Kamien, Roger. Music : An Appreciation. Mcgraw-Hill College; 3rd edition (August 1, 1997) ISBN 0-07-036521-0
Maes, Francis, tr. Arnold J. Pomerans and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of Calilfornia Press, 2002). ISBN 0-520-21815-9.
Weinstock, Herbert, Tchaikovsky (New York: Alfred A. Knopf, 1944). ISBN n/a
References[edit]
1.Jump up ^ Tchaikovsky Research Net: Romeo and Juliet
2.Jump up ^ Alexander Poznansky & Brett Langston, The Tchaikovsky Handbook, Vol. 1 (2002) Tchaikovsky Research Net: Catalogue Numbers
3.Jump up ^ Polina Vaidman, Liudmila Korabel'nikova, Valentina Rubtsova, Thematic and Bibliographical Catalogue of P. I. Čajkovskij's Works (2006), and P. I. Čajkovskij. New Edition of the Complete Works (1993–date)
4.Jump up ^ From Balakirev, 30 March 1869
5.Jump up ^ Brown, Man and Music, 46.
6.Jump up ^ Brown, New Grove Russian Masters, 157-158.
7.Jump up ^ Holden, 74.
8.Jump up ^ Maes, 64.
9.Jump up ^ Maes, 73-74.
10.Jump up ^ Quoted in Brown, David, Tchaikovsky: The Early Years, 1840-1874, 180-181, 183-184.
11.^ Jump up to: a b Maes, 74.
12.Jump up ^ Weinstock, 69.
13.Jump up ^ Kamien 254.
14.Jump up ^ Weinstock, 70.
15.Jump up ^ Brown, Early, 209.
16.^ Jump up to: a b c d Brown, Crisis, 103.
17.Jump up ^ Brown, Tchaikovsky: Man and Music, 49.
18.Jump up ^ [1]
External links[edit]
1.Program notes from the Redwood Symphony with a more in-depth listening guide
Romeo and Juliet: Free scores at the International Music Score Library Project
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Categories: Compositions by Pyotr Ilyich Tchaikovsky
Symphonic poems
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Romeo und Julia
From Wikipedia, the free encyclopedia
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Romeo und Julia is an opera in two acts by Heinrich Sutermeister. The composer wrote the libretto, after William Shakespeare's Romeo and Juliet.
Erik Levi explains that the opera: "presents a synthesis of Romantic and impressionist elements. It marks a . . . return to the conception of opera as a sequence of closed forms, incorporating . . . stylistic features related to madrigal, oratorio and pantomime."[1]
Contents
[hide] 1 Performance history
2 Roles
3 Synopsis
4 Recordings
5 References
Performance history[edit]
It was first performed on 13 April 1940, at the Staatsoper, Dresden, under the musical direction of Karl Böhm, who also commissioned the work, with Maria Cebotari as Julia, and was a considerable success. It was also performed at Sadlers Wells in London in the mid 50s.
Roles[edit]
Role
Voice type
Premiere cast,
13 April 1940
(Conductor: Karl Böhm)
Julia, daughter of the Capuletis soprano Maria Cebotari
Romeo, son of Montague tenor
Balthasar, Romeo's servant baritone
Nurse soprano Inger Karén
Capuleti (Capulet) bass Kurt Böhme
Countess Capuleti (Lady Capulet) contralto Helena Rott
Father Lorenzo (Friar Laurence) bass Sven Nilsson
Escalus, Prince of Verona baritone
Servant tenor
Montague, Romeo's father spoken
Count Paris ballerina
Synopsis[edit]
Sutermeister's version follows Shakespeare's plot. In the final scene, a celestial chorus celebrate the union in death of the two lovers.
Recordings[edit]
Sutermeister: Romeo und Julia – Bavarian Radio Chorus, Tölzer Knabenchor, Munich Radio Orchestra
Conductor: Heinz Wallberg
Principal singers: Ferry Gruber, Raimund Grumbach, Nikolaus Hillebrand, Urszula Koszut, Hildegard Laurich, Theodor Nicolai, Adolf Dallapozza, Paul Hansen, Alexander Malta, Gudrun Wewezow, Joern W. Wilsing, Heinrich Weber, Anton Rosner
Recording date: 1980?
Label: Musiques Suisses – 6263 (2 CDs)
References[edit]
1.Jump up ^ Levi, Erik (1992), 'Romeo und Julia' in The New Grove Dictionary of Opera p. 33 vol. 4
Amadeus Almanac, accessed 8 April 2011
Levi, Erik (1992), 'Romeo und Julia' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7
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Categories: Operas by Heinrich Sutermeister
German-language operas
Operas
1929 operas
Works based on Romeo and Juliet
Operas based on works by William Shakespeare
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Romeo and Juliet (Prokofiev)
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This article is about Sergei Prokofiev's ballet. For other uses, see Romeo and Juliet (disambiguation).
Romeo and Juliet (Op. 64) (Russian: Ромео и Джульетта) is a ballet by Sergei Prokofiev based on William Shakespeare's play Romeo and Juliet. Prokofiev reused music from the ballet in three suites for orchestra and a solo piano work.
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Contents
[hide] 1 Ballet 1.1 Instrumentation
2 Structure
3 Orchestral suites extracted from Romeo and Juliet 3.1 Suite No. 1 from Romeo and Juliet, Op. 64bis
3.2 Suite No. 2 from Romeo and Juliet, Op. 64ter
3.3 Suite No. 3 from Romeo and Juliet, Op. 101
4 Ten Pieces for Piano, Op. 75
5 Recordings
6 Sources
7 Notes
8 External links
Ballet[edit]
Galina Ulanova and Yuri Zhdanov in the Romeo and Juliet ballet
Based on a synopsis created by Adrian Piotrovsky (who first suggested the subject to Prokofiev)[1] and Sergey Radlov, the ballet in its original form was completed by Prokofiev in September 1935, on commission by the Kirov Ballet, since when he first presented the music to the Bolshoi Ballet that year, they claimed it was "undanceable". The original version had a "happy" ending, but was never publicly mounted, partly due to increased fear and caution in the musical and theatrical community in the aftermath of the two notorious Pravda editorials criticising Shostakovich and other "degenerate modernists" including Piotrovsky.[2] The conductor Yuri Fayer met with Prokofiev frequently during the writing of the music, and he strongly urged the composer to revert to the traditional ending. Fayer went on to conduct the first performance of the ballet at the Bolshoi Theatre.
Suites of the ballet music were heard in Moscow and the United States, but the full ballet premiered in the Mahen Theatre, Brno (then in Czechoslovakia, now in the Czech Republic), on 30 December 1938. It is better known today from the significantly revised version that was first presented at the Kirov Ballet in Leningrad on 11 January 1940, with choreography by Leonid Lavrovsky and with Konstantin Sergeyev and Galina Ulanova in the lead roles.
In 1955 Frederick Ashton choreographed a production of Romeo and Juliet for the Royal Danish Ballet.
In 1962 John Cranko's choreography of Romeo and Juliet for the Stuttgart Ballet helped the company achieve a worldwide reputation. It had its American premiere in 1969.
In 1965 choreographer Sir Kenneth MacMillan's production for the Royal Ballet premiered at the Royal Opera House, Covent Garden. Margot Fonteyn and Rudolf Nureyev brought new life to the characters, as did the set and costume designs by Nicholas Georgiadis; Fonteyn, considered to be near retirement, embarked upon a rejuvenated career with a partnership with Nureyev.
In 1971, John Neumeier, partly inspired by John Cranko, created another version of the ballet in Frankfurt. In 1974 Neumeier's Romeo and Juliet premiered in Hamburg as his first full-length ballet with the company.
In 1977, Rudolf Nureyev created a new version of Romeo and Juliet for the London Festival Ballet, today's English National Ballet. He performed the lead role of Romeo, with British ballerina Patricia Ruanne creating the role of Juliet. As a partnership, they would tour the production internationally, and it continues to be a popular ballet in the ENB repertoire, with its most recent revival in 2010 being staged by Patricia Ruanne and Frederic Jahn, of the original 1977 cast.
The Joffrey Ballet presented the first American production in its 1984–1985 season, including performances in New York City at the New York State Theater and in Washington, D.C. at the Kennedy Center.
In 1985 choreographer László Seregi's production premiered at the Hungarian National Ballet, Budapest.
In 2007 Peter Martins made Romeo + Juliet on New York City Ballet to the Prokofiev music.
On July 4, 2008, with the approval of the Prokofiev family and permission from the Russian State Archive, the original Prokofiev score was given its world premiere. Musicologist Simon Morrison, author of The People's Artist: Prokofiev's Soviet Years, unearthed the original materials in the Moscow archives, obtained permissions, and reconstructed the entire score. Mark Morris created the choreography for the production. The Mark Morris Dance Group premiered the work at the Fisher Center for the Performing Arts at Bard College in New York state. The production subsequently began a year-long tour to include Berkeley, Norfolk, London, New York, and Chicago.
In 2011, the National Ballet of Canada premiered a new choreography of Romeo and Juliet by Alexei Ratmansky in Toronto, with plans to take it on tour in Western Canada in early 2012.
Instrumentation[edit]
In addition to a somewhat standard instrumentation, the ballet also requires the use of the tenor saxophone. This voice adds a unique sound to the orchestra as it is used both in solo and as part of the ensemble. Prokofiev also used the cornet, viola d'amore and mandolins in the ballet, adding an Italianate flavor to the music.
Full instrumentation is as follows:
Woodwinds: piccolo, 2 flutes, 2 oboes (2nd doubling on 2nd English horn), English horn, 2 clarinets (2nd doubling on E-flat clarinet), bass clarinet, 2 bassoons, contrabassoon, tenor saxophone
Brass: 6 horns, 3 trumpets, cornet, 3 trombones, tuba
Percussion: timpani, snare drum, xylophone, triangle, woodblock, maracas, glockenspiel, tambourine, chime (a’’), cymbals, bass drum
Keyboards: piano, celesta, organ
Strings: 2 mandolins, viola d'amore (or viola), 2 harps, first and second violins, violas, violoncellos, double basses
The score is published by Muzyka and the Russian State Publisher.
Structure[edit]
List of acts, scenes and musical numbers.[3]
Scene
No.
English title
Russian title (Original title)
Tempo indication
Notes
Act 1
1 Introduction Вступление Andante assai
Scene 1 2 Romeo Ромео Andante
3 The Street Awakens Улица просыпается Allegretto
4 Morning Dance Утренний танец Allegro
5 The Quarrel Ссора Allegro brusco
6 The Fight Бой Presto
7 The Prince Gives His Order Приказ герцога Andante a.k.a. The Duke's Command
8 Interlude Интерлюдия Andante pomposo (L'istesso tempo)
Scene 2 9 Preparing for the Ball (Juliet and the Nurse) Приготовление к балу (Джульетта и Кормилица) Andante assai. Scherzando a.k.a. At the Capulets' (Preparations for the Ball)
10 Juliet as a Young Girl Джульетта-Девочка Vivace a.k.a. The Young Juliet
11 Arrival of the Guests (Minuet) Съезд гостей (Менуэт) Assai moderato
12 Masks (Romeo, Mercutio and Benvolio in Masks) Маски (Ромео, Меркуцио и Бенволио в масках) Andante marciale
13 Dance of the Knights Танец рыцарей Allegro pesante a.k.a. Montagues and Capulets
14 Juliet's Variation Вариация Джульетты Moderato (quasi Allegretto)
15 Mercutio Меркуцио Allegro giocoso
16 Madrigal Мадригал Andante tenero
17 Tybalt Recognizes Romeo Тибальд узнает Ромео Allegro
18 Gavotte (Departure of the Guests) Гавот (Разъезд гостей) Allegro Gavotte (movement III) from "Classical" Symphony, Op. 25
19 Balcony Scene Сцена у балкона Larghetto
20 Romeo's Variation Вариация Ромео Allegretto amoroso
21 Love Dance Любовный танец Andante
Act 2
Scene 3 22 Folk Dance Народный танец Allegro giocoso
23 Romeo and Mercutio Ромео и Меркуцио Andante tenero
24 Dance of the Five Couples Танец пяти пар Vivo
25 Dance with Mandolins Танец с мандолинами Vivace
26 The Nurse Кормилица Adagio scherzoso
27 The Nurse Gives Romeo the Note from Juliet Кормилица передает Ромео записку от Джульетты Vivace a.k.a. The Nurse and Romeo
Scene 4 28 Romeo at Friar Laurence's Ромео у патера Лоренцо Andante espressivo
29 Juliet at Friar Laurence's Джульетта у патера Лоренцо Lento
Scene 5 30 The People Continue to Make Merry Народное веселье продолжается Vivo a.k.a. Public Merrymaking
31 The Folk Dance Again Снова народный танец Allegro giocoso a.k.a. Further Public Festivities (Снова народный праздник)
32 Tybalt Meets Mercutio Встреча Тибальда с Меркуцио Moderato a.k.a. Meeting of Tybalt and Mercutio
33 Tybalt and Mercutio Fight Тибалд бьётся с Меркуцио Precipitato a.k.a. The Duel
34 Death of Mercutio Меркуцио умирает Moderato
35 Romeo Decides to Avenge Mercutio's Death Ромео решает мстить за смерть Меркуцио Andante. Animato
36 Finale of Act II Финал второго действия Adagio dramatico
Act 3
37 Introduction Вступление Andante reprise of No. 7
Scene 6 38 Romeo and Juliet (Juliet's bedroom) Ромео и Джульетта (Спальня Джульетты) Lento
39 Farewell before Parting Прощание перед разлукой Andante a.k.a. Romeo Bids Juliet Farewell, or The Last Farewell
40 The Nurse Кормилица Andante assai
41 Juliet Refuses to Marry Paris Джульетта отказывается выйти за Париса Vivace
42 Juliet Alone Джульетта одна Adagio
43 Interlude Интерлюдия Adagio
Scene 7 44 At Friar Laurence's У Лоренцо Andante a.k.a. At Friar Laurence's Cell
45 Interlude Интерлюдия L'istesso tempo
Scene 8 46 Again in Juliet's Bedroom Снова у Джульетты Moderato tranquillo
47 Juliet Alone Джульетта одна Andante
48 Morning Serenade Утренняя серенада Andante giocoso a.k.a. Aubade
49 Dance of the Girls with Lilies Танец девушек с лилиями Andante con eleganza
50 At Juliet's Bedside У постели Джульетты Andante assai
Act 4: Epilogue
Scene 9 51 Juliet's Funeral Похороны Джульетты Adagio funebre
52 Death of Juliet Смерть Джульетты Adagio (meno mosso del tempo precendente)
Orchestral suites extracted from Romeo and Juliet[edit]
Suite No. 1 from Romeo and Juliet, Op. 64bis[edit]
1.Folk Dance
2.Scene (the Street Awakens)
3.Madrigal
4.Minuet (the Arrival of the Guests)
5.Masks
6.Romeo and Juliet
7.Death of Tybalt
Suite No. 2 from Romeo and Juliet, Op. 64ter[edit]
1.Montagues and Capulets
2.The child Juliet
3.Friar Laurence
4.Dance
5.Romeo and Juliet Before Parting
6.Dance of the Girls with Lilies
7.Romeo at Juliet's Grave
Suite No. 3 from Romeo and Juliet, Op. 101[edit]
1.Romeo at the Fountain
2.Morning Dance
3.Juliet
4.The Nurse
5.Aubade (Morning serenade)
6.The Death of Juliet...
Ten Pieces for Piano, Op. 75[edit]
Prokofiev reduced selected music from the ballet in 1937 as Romeo and Juliet: Ten Pieces for Piano, Op. 75, which he premiered himself later that year.
1.Folk Dance
2.Scene: The Street Awakens
3.Minuet: Arrival of the Guests
4.Juliet as a Young Girl
5.Masquers
6.Montagues and Capulets
7.Friar Laurence
8.Mercutio
9.Dance of the Girls with Lilies
10.Romeo and Juliet before Parting
Recordings[edit]
Sergei Prokofiev himself made the first recording of music from the ballet, with the Moscow Philharmonic Orchestra in 1938. Since then, there have been recordings of the full score, as well as various excerpts such as the orchestral suites the composer prepared. Leopold Stokowski conducted the NBC Symphony Orchestra in a rare stereo recording in 1954 and Michael Tilson Thomas conducted the San Francisco Symphony Orchestra in 1995, in selections from the score, both for RCA Victor. Lorin Maazel also made a noted complete recording of the score with the Cleveland Orchestra in 1973.
Sources[edit]
Clark, Katerina Petersburg: Crucible of Cultural Revolution (Cambridge, Massachusetts: Harvard University Press, 1995)
Morrison, Simon The People’s Artist: Prokofiev’s Soviet Years (Oxford: Oxford University Press, 2008)
Notes[edit]
1.Jump up ^ The People's Artist by Simon Morrison, p.32
2.Jump up ^ Clark, p. 291
3.Jump up ^ S. Prokofiev: Op. 64 Romeo and Juliet, Ballet in Four Acts, Nine Scenes. Moscow: Muzyka, 1976. (С. Прокофьев: Соч. 64 Ромео и Джульетта, Балет в четырех действиях, девяти картинах. Москва: Издательство «Музыка», 1976 г.)
External links[edit]
Wikimedia Commons has media related to Romeo and Juliet (ballet).
Romeo and Juliet The ballet choreography by Rudolf Nureyev
March 7, 1985 NY Times review by Anna Kisselgoff
Romeo & Juliet, On Motifs of Shakespeare: website on first production using the original Prokofiev score as reconstructed by Simon Morrison
Romeo and Juliet (Ballet): Free scores at the International Music Score Library Project
Romeo and Juliet (1st Suite): Free scores at the International Music Score Library Project
Romeo and Juliet (2nd Suite): Free scores at the International Music Score Library Project
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Categories: Ballets based on works by William Shakespeare
Works based on Romeo and Juliet
Ballets by Sergei Prokofiev
Suites by Sergei Prokofiev
1938 ballet premieres
Music for orchestra and organ
1935 compositions
1939 compositions
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Romeo and Juliet (Cranko)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the Cranko ballet. For Sean Lavery's setting of the balcony scene, see Romeo and Juliet (Lavery). For Kenneth MacMillan's ballet, see Romeo and Juliet (MacMillan). For Peter Martins' ballet, see Romeo + Juliet (ballet). For other uses, see Romeo and Juliet (disambiguation).
Romeo and Juliet
Choreographer
John Cranko
Music
Sergei Prokofiev
Premiere
1962 – Stuttgart
Original ballet company
Stuttgart Ballet
Genre
Neoclassical ballet
Type
classical ballet
Romeo and Juliet is ballet made by John Cranko to Serge Prokofiev's eponymous score on the Stuttgart Ballet in 1962 and first seen in America in 1969.
Contents
[hide] 1 Casts 1.1 Stuttgart Ballet
1.2 Joffrey Ballet
2 Reviews
3 External links
Casts[edit]
Stuttgart Ballet[edit]
original
American premiere
Marcia Haydee Juliet
Richard Cragun Romeo
Joffrey Ballet[edit]
1985
Patricia Miller Juliet
Deborah Dawn Rosalind
Charlene Gehm Lady Capulet
James Canfield Romeo
Luis Perez Mercutio
Jerel Hilding Tybalt
Tom Mossbrucker Paris
Reviews[edit]
NY Times, by Anna Kisselgoff, Thursday, March 7, 1985
External links[edit]
Joffrey Ballet
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Categories: Ballets by John Cranko
Ballets by Sergei Prokofiev
Ballets based on works by William Shakespeare
Works based on Romeo and Juliet
1962 ballet premieres
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Roméo et Juliette, de la Haine à l'Amour
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This article is about the French musical. For the Italian musical, see Romeo e Giulietta. Ama e cambia il mondo.
Roméo et Juliette, de la Haine à l'Amour
Music
Gérard Presgurvic
Lyrics
Gérard Presgurvic
Basis
William Shakespeare's play Romeo & Juliet
Productions
2001 in Paris
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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, Moscow, Vienna, Bucharest, Seoul, Pusan (South Korea), Taipei, Monterrey, Japan and Shanghai and has been translated into several languages, including Flemish, Italian, Hungarian, Russian, English, German, Spanish, Romanian, Japanese, and Korean.
Contents
[hide] 1 Plot 1.1 Synopsis
2 Songs
3 Original French Cast
4 Productions
5 Differences among productions 5.1 Characters
5.2 Songs
5.3 Costume Designs
5.4 The Deaths of Romeo and Juliet
6 References
7 External links
Plot[edit]
Differences from Shakespeare's plot include that the nature of the lovers' deaths is different, depending on the production. New characters such as Death (French, Belgian, Netherlands, and Moscow productions only) and the Poet (French production only) appear for dramatic effect. Lady Capulet has a greatly increased role and in the case of the Hungarian version, has an affair with her servant. The role of Tybalt has changed slightly from being purely dark to a more pitiful character because of his growing up with the hate and a dark childhood, as well as an unrequited attraction to Juliet.
Synopsis[edit]
Act 1
A long-standing feud between the two leading families of the city of Verona, the Montagues and the Capulets, regularly erupts into violence on the city's streets. Irritated, the Prince of Verona decrees, on pain of death, the absolute prohibition on fighting in the city (Vérone). While Lady Capulet and Lady Montague denounce the violence of the two clans (La haine), Romeo (the sole heir of the Montagues) and Juliet (the daughter of the Capulets) are hopelessly in search for love (Un jour).
At the Capulets, a ball is being held so that Juliet can meet Count Paris, who asked Lord Capulet for her hand (La demande en mariage, Tu dois te marier). In Verona, Romeo and his friends, Benvolio and Mercutio, hang about the streets (Les rois du monde, La folie). Romeo is afraid of... he doesn't really know, but he's afraid (J'ai peur). In the hope of distracting him, Benvolio and Mercutio, persuade him to accompany them, in disguise, to a ball being held at the house of the Capulets (Le bal). At his first sight of Juliet, the daughter of the Capulets, Romeo instantly falls in love with her, without knowing who she is (L'amour heureux). Tybalt recognize Romeo and informs Juliet's parents. Romeo and Juliet learn from the Nurse who they are (Le bal 2). Tybalt, broken (he loves Juliet in secret), acknowledges that he is the son of hate and contempt (C'est pas ma faute).
After the ball, Juliet takes refuge in her room and dreams of Romeo (Le poète), who woos her at great personal risk in the Capulets' garden. They exchange lovers' vows and plan to marry in secret as soon as possible (Le balcon). Knowing that their families will never agree to their marriage, Romeo meets Friar Lawrence and asks him to marry them. He accepts hoping that this union will reconcile the two families (Par amour).
In the morning, Romeo meets his friends and tells the Nurse, whom everyone makes fun of (Les beaux, les laids), that Friar Lawrence will marry them the following afternoon. The Nurse, who deeply loves Juliet as her own daughter, announces the good news to Juliet (Et voilà qu'elle aime). Finally, Romeo and Juliet are married (Aimer).
Act 2
The next day, Benvolio and Mercutio meet Romeo: they accuse him of betrayal (On dit dans la rue). Out on the streets of Verona, Tybalt - unaware of his new blood tie to Romeo - searches for Romeo (C'est le jour) and when he finds him, challenges him to a fight, which Romeo refuses (Le duel). Mercutio takes up the challenge and is mortally wounded. Driven by guilt, vengeance and youthful-hotheadedness, Romeo kills Tybalt (Mort de Mercutio). The two families, plunged into mourning, ask the Prince for revenge (La vengeance). Finally, he banishes Romeo from Verona and thinks about the political power (Le pouvoir). In her bedroom, Juliet learns the bad news from the Nurse. She is torn between the love for her cousin and for her husband. Romeo goes to Friar Lawrence's. He thinks banishment is worse than death (Duo du désespoir).
Romeo and Juliet spend their wedding night together and Romeo makes his escape to Mantua (Le chant de l'alouette). Shortly after her husband has left, Juliet is informed by her parents that she is to be married to Paris. She refuses and they threaten to disown her (Demain). Upset, Lord Capulet sings about the love he has for his daughter (Avoir une fille). In her room, Juliet asks why she has to obey (Pourquoi). In Mantua, Romeo thinks of Juliet. In desperation, she turns to Friar Lawrence, who devises an ingenious plan, which he hopes will ultimately bring a happy ending for both the lovers and their two families (Sans elle).
Juliet appears to go along with the marriage plans but, in the night before the wedding, she takes the drug prepared by Friar Lawrence which makes her appear dead (Le poison). Juliet is duly laid in the family vault, hoping to wake up to find Romeo waiting for her. 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). 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).
Songs[edit]
Act I“Overture” – Gérard Presgurvic
"Vérone" – Le Prince de Vérone
"La Haine" – Lady Capulet & Lady Montaigu
"Un Jour" – Roméo & Juliette
"La Demande en mariage" – Pâris & Comte Capulet
"Tu dois te marier" – Lady Capulet & La Nurse
"Les Rois du monde" – Roméo, Benvolio & Mercutio
"La Folie" – Mercutio, Roméo & Benvolio
"J'ai peur" – Roméo
"Le Bal" (Instrumental)
"L'Amour heureux" – Roméo & Juliette
"Le Bal 2" (Instrumental)
"C'est pas ma faute" – Tybalt
"Le Poète" – Le Poète & Juliette
"Le Balcon" – Roméo & Juliette
"Par amour" – Frère Laurent, Roméo & Juliette
"Les Beaux, les Laids" – La Nurse, Benvolio & Mercutio
"Et voilà qu'elle aime" – La Nurse
"Aimer" – Roméo & Juliette
Act II"On dit dans la rue" – Roméo, Mercutio & Benvolio
"C'est le jour" – Tybalt
"Le Duel" – Mercutio, Tybalt, & Roméo
"Mort de Mercutio" – Mercutio & Roméo
"La Vengeance" – Comte Capulet, Lady Montaigu, Le Prince de Vérone & Roméo
"Le Pouvoir" – Le Prince de Vérone
"Duo du désespoir" – La Nurse & Frère Laurent
"Le Chant de l'alouette" – Roméo & Juliette
"Demain" – Comte Capulet, Lady Capulet, Juliette & La Nurse
"Avoir une fille" – Comte Capulet
"Pourquoi" – Juliette
"Sans Elle" – Roméo & Juliette
"Le Poison" – Juliette
"Comment lui dire" – Benvolio
"Mort de Roméo" – Roméo
"La Mort de Juliette" – Juliette
"J'sais plus" – Frère Laurent
"Coupables" (final) – Lady Capulet, Lady Montaigu, La Nurse & La Troupe
Notes :
- "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.
- "Sans elle" is sung only by Roméo on the cast recording, but by Roméo and Juliette during the show
- Curtain calls were "Aimer", "Vérone" (punctually) and "Les rois du monde"
Original French Cast[edit]
Character
Original French Cast
Roméo Damien Sargue
Juliette Cécilia Cara
Benvolio Grégori Baquet
Mercutio Philippe d'Avilla
Tybalt Tom Ross
Lady Montaigu Eléonore Beaulieu
Lady Capulet Isabelle Ferron
Comte Capulet Sébastien El Chato
La Nurse Réjane Perry
Le Prince de Vérone Frédéric Charter
Frère Laurent Jean-Claude Hadida
Le Poète Serge Le Borgne
Pâris Essaï
Productions[edit]
Productions of the musical have included the following:[1]
"Roméo et Juliette: de la Haine à l'Amour" (Jan. 19, 2001 - Dec. 21, 2001)/(June 18, 2002 - Sep. 21, 2002) -- (Paris, Palais des Congrès) and French-Canadian tour (opening at Montreal, Théâtre St-Denis). The French-Canadian cast included[2] Romeo (Roméo) was Hugo, and Juliet (Juliette) was played by Ariane Gauthier. Direction and choreography was by Jean Grand-Maître.
"Romeo en Julia: van Haat tot Liefde" (Sep. 22, 2002 - March 16, 2003)/(Jan. 27, 2004 - Apr. 25, 2004) -- (Antwerp, Stadsschouwburg Theatre) and Netherlands Tour. The cast included[3] Davy Gilles as Romeo and Veerle Casteleyn as Juliet. Direction and Choreography were by Redha.
"Romeo and Juliet: the Musical" (Oct. 18, 2002 - Feb. 8, 2003) -- (London, Piccadilly Theatre). The cast included[4] Andrew Bevis as Romeo and Lorna Want (later Zara Dawson) as Juliet. The translation was by Don Black, direction and choreography were by David Freeman, and musical staging was by Redha.
"Rómeó és Júlia" (Jan. 23, 2004 - the Present) -- (Budapest, Budapest Operetta Theatre). The cast has included,[5] as Romeo (Rómeó), Dolhai Attila (01/2004-), György Rózsa Sándor (01/2004-06/2005, 09/2006-06/2007), Bálint Ádám (09/2004-06/2008), Száraz Tamás (09/2006-), and Szerényi László (09/2008-); and as Juliet (Júlia), Szinetár Dóra (01/2004-), Mahó Andrea (01/2004-06/2006), Vágó Bernadett (09/2006-), and Vágó Zsuzsi (09/2006-). Direction was by Kerényi Miklós Gábor, and choreography was by Duda Éva.
January 27, 2004 (Rotterdam, Nieuwe Luxor Theatre). In the Netherlands / Belgium tour version, the cast included[6] Davy Gilles as Romeo and Jennifer Van Brenk as Juliet. Direction and choreography were by Redha.
"Roméo i Juliette: ot Nenavisti do Lubvi" (May 20, 2004 - June 12, 2006) -- Russian (Moscow, Moscow Operetta Theatre). The cast included[7] Eduard Shuljevskii as Romeo (Ромео) and Sopho Nizharadze as Juliet (Джульетта).
"Romeo und Julia: das Musical" (Feb. 24, 2005 - July 8, 2006) -- Austrian (Vienna, Raimund Theatre). The cast included[8] Lukas Perman as Romeo and Marjan Shaki as Juliet. Direction and choreography were by Redha.
"Roméo et Juliette 2007" (Jan. 20, 2007 - Mar. 21, 2007)/(Apr. 5, 2007 - Apr. 21, 2007) -- Asia Tour. The cast included[9] Damien Sargue as Roméo and Joy Esther as Juliette. Direction and choreography were by Redha.
"Romeo y Julieta: el Musical" (Aug. 28, 2008 - Oct. 19, 2008) -- Mexico (Monterrey, Espacio Verona/Parque Funidora). The cast included Ángelo Saláis as Romeo and Melissa Barrera as Juliet. Direction was by Marcelo González and choreography was by Miguel Sahagún.
"Romeo si Julieta ( April 30, 2009 - Present ) -- Romania (Bucharest, Teatrul National de Opereta). The cast included Jorge/Mihai Mos/Vlad Robu as Romeo, Simona Nae/Diana Nitu as Juliet.
"Roméo and Juliette" 「ロミオとジュリエット」 (July 10, 2010 - July 26, 2010; August 2, 2010 - August 24, 2010 ) -- Japan (Umeda Arts Theatre; Hakataza Theatre). Presented by the all-female Takarazuka Revue, the production was performed by Star Troupe, the cast included Reon Yuzuki as Romeo and Nene Yumesaki as Juliet. Adaption and direction by Shuuichiro Koike.
"Roméo and Juliette" 「ロミオとジュリエット」 (Jan. 1, 2011 - Jan. 31, 2011; Feb. 17 - Mar. 20, 2011) -- Japan (Takarazuka Grand Theater; Tokyo Takarazuka Theater). Presented by the all-female Takarazuka Revue, the production will be performed by Snow Troupe, the cast will include Kei Otozuki as Romeo, and Mimi Maihane/Ami Yumeka as Juliet on a rotating basis. Direction by Shuuichiro Koike.
"Romeo e Giulietta: Ama e Cambia il mondo" (Oct. 2013) -- Italy (Verone, Arena di Verona)/(Nov. 2013) -- Italy (Rome, Gran Teatro).
Differences among productions[edit]
[10]
Characters[edit]
French Version: There are 14 title characters in the original production: Romeo, Juliet, Benvolio, Mercutio, Tybalt, Lady Montague, Lady Capulet, Lord Capulet, The Nurse, Friar Laurence, The Prince, Paris, The Poet, and Death.
French Canadian Version: There is no Poet or Death.
Belgian/Netherlands Tour Version: There is no Poet.
British Version: There is no Poet or Death. However, there is a Lord Montague.
Hungarian Version: There is no Poet or Death. Paris has a greater role and two new scenes.
Russian Version: There is no Poet. Death is played by a male.
Austrian Version: There is no Poet or Death.
Asia Tour: There is no Poet, and while there's a Paris, he doesn't sing.
Romanian Version:There is no Poet and no Death. Paris has a greater role and two new scenes
Japanese Version: There is no Poet. Death is split into two characters a male one that is "death" (死)and a female one that is "love"(愛). There are also Lord Montague and Peter (nurse's servant).[11] In the 2011 production[12] another character will be introduced, John(a monk).
Songs[edit]
Belgian/Netherlands Tour Version: There are no versions of "Le Poete", "Par Amour", "Le Pouvoir", "La Folie", or "Pourquoi?". However, there is a "Verona Reprise" which the Prince sings, after a shortened "Het Lied Van De Leeuwerik" (Le Chant de L'Alouette). Julia has a short reprise of "Ooit Komt" (Un Jour) just before "De Koningen" (Les Rois du Monde).
French Canadian: "C'est Pas Ma Faute" and "Le Balcon" are switched. There is no "Le Poete", "Le Pouvoir", "La Folie", or "Pourquoi?".
British Version: The orchestrations are very different from the other productions. There are no English versions of "J'ai Peur", "Le Poison", "La Folie", or "Pourquoi?". "Le Pouvoir" was replaced by a "Verona" reprise. "Sans Elle" was replaced with a "All Days Are the Same Without You" reprise, and there is a reprise of "Ugly or Beautiful" (Les Beaux, les Laids) and "Born to Hate" (La Haine) after it. "C'est Pas Ma Faute" has been replaced with "She Can't See Me" along with different music. "Gulity" (Coupabales) was turned into a "Fools" (Duo Du Desespoir) reprise.
Hungarian Version: The order of the songs has been changed and there are some new songs which are reworkings of existing tunes. There are 3 reprises, Paris has his own song, (to the tune of "La Folie") and he shares a duet with Romeo (a "Le Duel" reprise). There is no "Pourquoi", "Avoir une Fille" or "Le Poete"
Russian Version: Orchestrations are the same (with a slight variation of "Le Bal 1"). There are no Russian versions of "La Folie", "Pourquoi?", "Le Poete", and "Par Amour". However, there are versions of "Par Amour" and "Pourquoi?" on the cast recording. Like the Belgian/Netherlands production, "Utro" (Le Chant de L'Alouette) was also shortened, and the Prince sings "Vlast" (Le Pouvoir) after it.
Austrian Version: Some of the music is reminiscent to the British, but most stays true to the original score. Julia has a short reprise of "Einmal" (Un Jour), just before "Herrscher der Welt" (Les Rois du Monde). There is no Austrian version of "Le Poete", "Par Amour", "La Folie", or "Pourquoi?". "Der Gesang der Lerche" has been shortened, and there is a "Verona" reprise sung by The Prince after "Das Gift" (Le Poison).
Asia Tour Version: The arrangements are a mix between the Austrian and the original French. "Tu Dois Te Marier", "On Dit Dans la Rue", and "Le Pouvoir" were cut from the show. New songs include "Grosse", "A La Vie, A La Mort", "Je Veux L'Aimer", "La Folie", (originally cut from the French production, then brought back) and "Verone 2". "La Demande En Mariage" has been turned into a solo song sung by Lord Capulet.
Romanian Version: The order of the songs is changed and there are three new songs, reworkings of existing tunes. Paris has his own song on the tunes of "La Folie" and shares a duet with Romeo on "Le Duel". There is no "Pourquoi", "Avoir une Fille", "Le pouvoir" or "Le Poete"
Japanese Version: In the 2010 production Tybalt is a second lead role, so he gets another theme song by the name "Tybalt"
Costume Designs[edit]
Costume designs in the various productions are influenced by local renaissance costume traditions.
French Version: The costumes are 14th century with a touch of 20th century and are largely made of leather. The costumes of the Montagues are in shades of blue while the Capulets' are in shades of red. Costumes dignitaries of Verona are brown (Friar Laurence), gray and black (The Prince), and golden (Paris).
French Canadian Version: The costumes are exactly the same as the French version, except that of Juliet's.
Belgian/Netherlands Tour Version: Most of the costumes are the same as the French version, excepting those of Lady Montague, Friar Laurence, the Nurse, Mercutio, the ball gowns, and the wedding of Juliet.
British Version: The costumes from this production are very different from the French and Dutch. Generally they are a mixture of Renaissance, Victorian, Elizabethan, and 20th century. The colors for the Capulets are dark blue and white while the Montagues' are dark red and black.
Hungarian Version: The Hungarian costumes are perhaps the most different from all the productions. Some are reminiscent to the film Moulin Rouge, some have medieval connotations, and some are futuristic (like Benvolio's).
Russian Version: Costumes are a mix of French, Belgian, and new design (like that of Death's).
Austrian Version: The original designer of the French version, Dominique Borg, seemed to have gone with a more futuristic feel to the costumes in this production. Skin-tight and vibrant, they still perceptibly retain that 14th century touch.
Asia Tour Version: The Asian Tour costumes are different from the original French. Most are inspired by the film Moulin Rouge. The Montague boys wear colorful trench coats while the costumes of the ball are distinctly Roman. Others are similar to the costumes of the Hungarian version.
Romanian Version: The costumes are similar to those in the Hungarian version.
Japanese Version: The costumes are close to the fashion of the Austrian and Asia tour productions. Romeo and Juliette have the most costume changes. Montagues are seen in shades of blue (and sometimes greenish) and the Capulets in red. The Prince wears silver and gold and Paris silver-creamy with brown touches. At the ball in Capulets house everyone wears white, with only blue or red touches on their masks to define them as Montagues or Capulets, Paris' mask has orange and yellow on it. Romeo is seen with his trademark Montague blue costume, the white for the ball, a baby-blue one with creamy-brownish shirt and another outfit of brown pants and boots and a light blueish shirt. Juliette is seen with creamy and pinkish gowns, a white dress for the ball and her trademark Capulet red dress. Death wears a black tail tuxedo, with asymmetric tails, his costume is combined with a silver-white long haired wig and a tribal tattoo on his right cheek. Love wears a creamy-pinkish silky gown.[13]
The Deaths of Romeo and Juliet[edit]
Below are descriptions of differences among productions in the treatment of the deaths of Romeo and Juliet.[14]
In the original French production, after Romeo sings "Mort de Romeo", the character known as "Death" kills Romeo with a kiss. When Juliet wakes up to find him dead, she sings "La Mort de Juliette". Death then hands her Romeo's dagger, which she uses to kill herself. The Belgian/Dutch version follows this treatment as do the Russian/Asia Tour versions with some slight variation (see below.)
French Canadian Version: After singing "Mort de Romeo", Romeo drinks a poison and falls lifeless in front of Juliet's "death bed"; Juliet then finds him dead, and with his head on her lap she sings "La Mort de Juliette" and then kills herself with Romeo's dagger.
British Version: Romeo and Juliet both kill themselves with Romeo's dagger.
Hungarian Version: Taking Juliet into a harness, Romeo hangs himself as he is strapped to Juliet. Juliet kills herself with Romeo's dagger, however she slits her wrists instead of plunging the dagger into her heart.
Russian Version: Death "sucks the life" out of Romeo by putting his lips to Romeo's and sucking his breath in. After Juliette sings "La Mort De Juliette", Death hands her Romeo's dagger, which she uses to kill herself.
Austrian Version: Romeo drinks a vial of poison, and similar to Romeo + Juliet, Juliet wakes up just in time to watch him die. She kills herself with Romeo's dagger.
Asia Tour Version: Same as the Austrian version. Romeo drinks a vial of poison after singing "Mort de Romeo", with Juliet waking up just in time to see him die. After singing "La Mort de Juliette", Death hands her Romeo's dagger, which she uses to kill herself.
Romanian Version: Same ending as in the Hungarian version. Romeo hangs himself and Juliet slits her wrists with Romeo's dagger.
Japanese Version: After singing "Mort de Romeo", Romeo drinks a vial of poison and falls dead next to Juliet. Juliet wakes up after he is dead and she sings "La Mort de Juliette", believing at first that Romeo is just sleeping next to her and is still alive. Juliet later discovers that Romeo is actually dead and kills herself with Romeo's dagger.
....
References[edit]
1.Jump up ^ [1]
2.Jump up ^ Roméo & Juliette - French Canadian
3.Jump up ^ Romeo en Julia - van Haat tot Liefde
4.Jump up ^ Romeo and Juliet - the Musical
5.Jump up ^ Rómeó és Júlia
6.Jump up ^ Romeo en Julia - the NetherlandsTour
7.Jump up ^ Roméo & Juliette
8.Jump up ^ Romeo und Julia - Das Musical
9.Jump up ^ Asia Tour Cast
10.Jump up ^ http://veerlebub.tripod.com/id24.html
11.Jump up ^ http://kageki.hankyu.co.jp/revue/backnumber/10/star_hakataza_rj/cast.html
12.Jump up ^ http://kageki.hankyu.co.jp/revue/correlation/203.html
13.Jump up ^ http://www.asahi.com/showbiz/stage/gallery/100712/
14.Jump up ^ Differences
External links[edit]
Roméo et Juliette: de la Haine à l'Amour Official Website
Romeo und Julia: das Musical Official Website
Romeo & Juliet: the Musicals Website
Romeo & Giulietta: Ama e cambia il mondo
Romeo & Juliette in Korean
Romeo & Juliette in Japanese: Takarazuka Revue Official Production Webpage
Romeo & Juliette in Japanese: Umeda Arts Theatre Production Webpage
Romeo & Juliette in Traditional Chinese
Romeo & Juliette : Official MySpace
Romeo & Juliette: Monterrey Version Official Site
Romeo + Juliet, the Musicals Website
Site Officiel Roméo et Juliette – Spectacle Musical de Gérard Presgurvic
Dans Nos Coeurs - Sitio Fan de Romeo et Juliette
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Giulietta e Romeo (musical)
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This article is about the Italian musical. For the French musical see Roméo et Juliette, de la Haine à l'Amour.
Giulietta e Romeo
Music
Riccardo Cocciante
Lyrics
Pasquale Panella
Basis
William Shakespeare's play Romeo & Juliet
Productions
2007 in Verona
Giulietta e Romeo is an Italian-language musical with music by Riccardo Cocciante and lyrics by Pasquale Panella, based on William Shakespeare's play Romeo and Juliet. Since its world premiere in Verona on June 1, 2007, directed by Sergio Carrubba, the musical has toured throughout Italy, playing in various Italian cities, including Rome, Milan, Naples and others. There are plans to stage it in other European nations in the Italian language.
The cast is composed mostly of boys and girls between the ages of 15 and 18. Each actor has at least two roles.
Contents
[hide] 1 Plot 1.1 Changes from the Shakespeare story
2 Original cast
3 Songs
4 External links
Plot[edit]
Giulietta and Romeo's young love is strongly opposed by their two families, the Capuletis and the Montecchis. Their feelings are intensely passionate, but they inevitably meet a tragic fate.
Changes from the Shakespeare story[edit]
Mercuzio is an omniscient character, who sings the overture and guides the meeting of Romeo and Giulietta during the party at Capuleti's home. The role of Tebaldo is circumscribed to the quarrels among the family clans. He has a scanty character and grazes madness. Lord Capuleti's role is expanded. The roles of Lady Capuleti and Lady Montecchi are eliminated.
Giulietta dies because of a heartbreak, instead of by the dagger. Padre Lorenzo is the character that indirectly decides the fate of Romeo and Giulietta driving them during the second act. At the end he will cry over the deaths together with the two fathers.
Original cast[edit]
Romeo: Marco Vito, Flavio Gismondi, Daniele Carta Mantiglia
Giulietta: Tania Tuccinardi, Alessandra Ferrari, Maria Francesca Bartolomucci
Benvolio: Angelo Del Vecchio, Damiano Borgi
Mercuzio: Gian Marco Schiaretti, Francesco Capodacqua
Tebaldo: Valerio Di Rocco, Gaetano Caruso
Lord Capuleti: Giuseppe Pellingra, Francesco Antimiani
Lord Montecchi: Francesco Antimiani, Giuseppe Pellingra
Nutrice: Silvia Querci, Chiara Luppi
Padre Lorenzo: Fabrizio Voghera, Luca Maggiore
Principe Escalus: Alessandro Arcodia, Gaetano Caruso
Songs[edit]
Act I1.Verona (Verona)
2.L'affronto (The confrontation)
3.Non l'odio, l'amore (Not hatred, but love)
4.Io amo e non so (I love and don't know)
5.Ragazze tra le stelle (Girls among the stars)
6.Stanotte ho fatto un sogno (Last night I had a dream)
7.La regina della notte (The queen of the night)
8.La festa siamo noi (We are the party)
9.La festa della festa (The party of the party)
10.La festa siamo noi (segue) (We are the party (continued))
11.Ah... quell'amore (Oh... that love)
12.La festa siamo noi (segue) (We are the party (continued))
13.C'è tutto sotto sotto (Everything lies down below)
14.Gli occhi negli occhi (Eyes that meet)
15.L'amore ha fatto l'amore (Love has made love)
16.La mano nella mano (Hand in hand)
17.T'amo (I love you)
18.Il nome del nemico (The name of the enemy)
19.Chi sei? (Who are you?)
20.Io, Romeo (I, Romeo)
21.Voglio vedere Giulietta (I want to see Giulietta)
22.Il tuo nome (Your name)
23.Notte più bella di tutte (Most beautiful night of all')
24.Giulietta esiste (Giulietta is real)
25.Tu sei (You are)
26.Maledizione benedizione (Curse and blessing)
Act II1.L'amore è fatto già (Love is already made)
2.Nei fiori (In the flowers)
3.Io vi benedico (I bless you)
4.Mercuzio, Tebaldo, le spade (Mercuzio, Tebaldo, the swords)
5.Sono ferito (I am wounded)
6.Com'è leggera la vita (How light life is)
7.Romeo, Tebaldo, le spade (Romeo, Tebaldo, the swords)
8.Morte di Tebaldo (The death of Tebaldo)
9.No, Verona, no (No, Verona, no)
10.Lontano da Verona (Far from Verona)
11.Per rabbia e per errore (Out of anger and error)
12.La notizia a Giulietta (Giulietta hears the news)
13.Tu sei bandito (You are exiled)
14.Quel respiro, la vita (That breath, life)
15.Non è ancora giorno (It's not morning yet)
16.Morto il mio cuore (Death of my heart)
17.Giulietta, io so quanto soffri (I know how much you are suffering, Giulietta)
18.Festa presto (Celebration in a hurry)
19.E se non mi svegliassi (And what if I don't wake up?)
20.Festa presto (segue) (Celebration in a hurry (continued))
21.Bambina mia (My little girl)
22.Stanotte (Tonight)
23.Il corpo di Giulietta (Giulietta's body)
24.Morte di Romeo (The death of Romeo)
25.Il cuore (The heart)
26.Perché (Why)
External links[edit]
Giulietta & Romeo Official Website
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William Shakespeare's Romeo and Juliet
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Wikipedia book
Categories: 2007 musicals
Plays and musicals based on Romeo and Juliet
Italian plays
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This page was last modified on 17 March 2013 at 09:31.
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