Teatro Nuovo triumphs with Bellini’s ‘I Capuleti e i Montecchi,’ at Montclair State

STEVEN PISANO

Alina Tamborini, left, and Stephanie Doche in “I Capuleti e i Montecchi” at Alexander Kasser Theater at Montclair State University.

Shakespeare’s iconic tale of star-crossed lovers Romeo and Juliet, whose happily-ever-after plan ends in tragic death, has been adapted into opera countless times throughout the centuries. The opera company Teatro Nuovo found a unique way to present it in a vital new production of Vincenzo Bellini’s “I Capuleti e i Montecchi” that was performed July 21 at Alexander Kasser Theater at Montclair State University. Bellini’s passion and intensity were superbly realized by the Teatro Nuovo orchestra and a radiantly voiced ensemble, led by primo violino e capo d’orchestra, Jakob Lehmann.

The lyrical tragedy is part of Teatro Nuovo’s summer season, which features historically informed performances of 19th-century Italian bel canto operas under the guidance of bel canto revivalist and musicologist Will Crutchfield. As Teatro Nuovo’s artistic and general director since 2018, his mission is to mount familiar showpieces alongside neglected and little-known works.

The “2024 Bel Canto Weekend” began on July 20 at Montclair State with a new production of Carolina Uccelli’s “Anna di Resburgo,” a two-act melodrama that faded into obscurity after its 1835 premiere, partly because it was written by a female composer at a time when it was rare for a woman to stage a major work. The two operas will be alternately performed July 24-25 at the Rose Theater at Jazz at Lincoln Center in New York (visit teatronuovo.org).

“I Capuleti” (1830) is the more canonical of the two works. Like many Italian operas of the early 19th century, it faded from the repertoire in the decades after its premiere. It was revived occasionally in the 1930s and gained traction in the 1960s, and now holds a secure place in the bel canto repertory.

Bellini had been riding a popular streak in the late 1820s until his first (and only) flop “Zaira” in 1829. Soon after, he managed to score a new commission with Teatro La Fenice, but was given a six-week deadline. Compared to his bel canto peers, he was a slow worker, so with the tight deadline looming, he recycled half of his failed “Zaira” score into “I Capuleti.” His librettist Felice Romani also revised much of an old libretto he had written for Nicola Vaccai’s “Giulietta e Romeo.”

STEVEN PISANO

Robert Kleinertz in “I Capuleti e i Montecchi.”

The opera is unique in that two leading female roles carry the action (Stephanie Doche as Romeo and Alina Tamborini as Giulietta) with smaller roles for the tenor (Robert Kleinertz as Tebaldo), bass-baritone (Michael Leyte-Vidal as Capellio) and baritone (Kyle Oliver as Lorenzo.)

Bellini’s Romeo is a trouser role, which echoes the longstanding tradition established by 18th century Italian composers of using castrati for the role. The artform had fallen out of fashion by the time Bellini began his creative output, but composers continued to score the role for a higher voice with a brilliant vocal range.

The plot, which draws from 16th century Italian sources, differs greatly from Shakespeare’s iconic play. In fact, Bellini had never even read it, as very few of the English dramatist’s works had reached Italy at the time.

In Bellini’s version, the two Veronese households, the Capuleti and Montecchi families, are rival political factions (as opposed to Shakespeare’s “two households, both alike in dignity”).

The action begins after Romeo and Giulietta have met, so there are no “love at first sight” enchantments. Instead, the two lovers are already tormented by their fateful decisions. There is a palpable sense of hopelessness and the inescapability of the double tragedy, which Bellini reflects through fragments of haunting, lachrymose melodies and moments of stillness.

Teatro Nuovo’s orchestra plays on authentic period instruments, which means orchestral color, tone and textures land differently than a modern orchestral sound. Detractors believe period instruments (and the use of old instrumental techniques that change the impact of lyrical lines) are incapable of completely expressing the full interpretative power of modern instruments that today’s audiences have become accustomed to.

I felt some limitations in expressive agility and articulation, particularly in the big, Bellinian reveals. Here there were clangorous thunderclaps when one anticipated crisp, crystalline textures or sleek glossiness to underline Bellini’s pathos, as in the first act finale when Romeo reveals his identity (“Io sono a te rivale”) and declares his love for Giulietta, and when Capellio reveals that Tebaldo is Giuliette’s suitor.

STEVEN PISANO

JAKOB LEHMANN

Lehmann, Teatro Nuovo’s associate artistic director since 2019, rose to Bellini’s pacing and balance challenges. Instead of seeping the music in melancholy, he tapped into the overarching tension and unease of the inevitable double tragedy to help push the narrative forward.

Alternating between conducting and playing, he led the large orchestra in full view of the stage. (Teatro Nuovo aims to be as collaborative and transparent as possible, which means musicians aren’t tucked away into a pit.) Timpani and percussion were played from side boxes. Maestro al cembalo Crutchfield laid down continuo with great attention and care.

Teatro Nuovo always follows a blueprint of the old performance styles, but they encourage experimentation and spontaneity. This was most evident in the overture, which Lehmann took at a dizzying “più mosso” clip. Shifts between pianos and fortes, and rallentandos and accelerandos were gloriously tumultuous and ferocious. Lehmann also knew when to hold back, like fermatas during cantabiles to ensure that principals weren’t bogged down.

Bellini was meticulous in his markings and gave ravishing solos to soloists: Maryse Legault (clarinet), Nathanael Udell (horn) and Hilary Metzger (cello) all played with tender, delicate phrasing and versatile control of their instruments. Jonathan Hess on timpani added some theatrical flair at the first meeting of the young lovers and Chelsea Lane on harp (in the wings) added sweetness to Giulietta’s “Oh! quante volte, oh! quante” cavatina.

Romani’s libretto has fleeting moments of Italian melodrama and sentimentality. While some productions like to push it up, stage director Marco Nisticò approached it with decorum and restraint. Stage language was not heroic, bombastic or overwrought.

A sparse, underfilled canvas made for a clean departure from bulky and high-concept stagings of the modern era. Props were whittled down to a chair for Giulietta’s apartment, two benches for the tomb, and the vial of poison.

Scenography bridged the past to the present. Men, including Romeo, wore modern black suits and women wore off-the-rack evening gowns. Projections by Adam Thompson were based on Francesco Sanquirico’s 19th century scenic designs used for a production of “I Capuleti” at Teatro alla Scala, which pointed to the libretto’s 14th century Veronese setting.

STEVEN PISANO

Stephanie Doche in “I Capuleti e i Montecchi.”

Both Doche as Romeo and Tamborini as Giulietta excelled at the Bellinian vocal style of long, seamless lines and leaps, and rhythmic flexibility. The roles don’t require the stratospheric fireworks typical of bel canto, but there are plenty of demands on agility and precision. Romani’s lean text came through in clear Italian pronunciation.

Doche — a naturalistic mezzo with a commanding lower range and a citrusy top — brought poise and gravity to the heroic role as the leader of the Montecchi. While exchanging threats with Capellio and the Capuletis in “Ascolta! Se Romeo t’uccise un figlio,” she was stoic and cool-headed, only coming slightly undone during the final tomb scene by adding wounded inflection to “Tu sola, o mia Giulietta.”

She contrasted well against Kleinertz’s Tebaldo, a follower of the Capuleti who is engaged to Giulietta. (In Bellini’s version, Tebaldo is her fiancé as opposed to her cousin.) Kleinertz’s voice sits at the deeper, darker end of the fach, which added an extra layer to the antagonistic and unheroic nature of the role. “È serbato a questo acciaro,” in which he swears to slay Romeo while Capellio promises him Giulietta’s hand, was fiery and exclamatory, sung in clear projection and depth. He rose to Romeo’s threats in the captivating Act II duet showdown “Stolto! Ad un sol mio grido,” and both singers conveyed touching grief upon learning of Giulietta’s death.

Prima donna Tamborini played Giulietta as nuanced and conflicted. Like Doche’s Romeo, these were not vulnerable teenagers. She nailed ornaments with precision and absolute ease, like in her recitativo and romanza “Eccomi in lieta vesta,” in a powerful voice of ample, Verdian proportions, floral and sweet, with clean clarity and sonority.

Duets with Doche (“Sì, fuggire: a noi non resta”) were meltingly seamless. The final farewell in the Capuleti tomb, in which the duettists once again pledge their love, was emotionally convincing and tender, with Romeo laying his head on her lap.

In the tomb scene, after she awakened and Romeo revealed he had poisoned himself, she gave a blood-curdling, agonized cry at his “Tutto gi sai” before launching into a heartbreaking “Ah! crudel! che mai facesti?”

Capellio, sung by Leyte-Vidal in a sonorous and sweet voice with velveteen edges, showed a glimpse of tenderness and humanity as Giulietta’s father and head of the Capuletis. Poised as a mafioso “Godfather” (which modern productions use to amusing effect), he briefly slipped his hand into Giulietta’s as she begged him for a change of heart after drinking the poison.

STEVEN PISANO

Alina Tamborini and Kyle Oliver in “I Capuleti e i Montecchi.”

Capuleti physician Lorenzo — sung by a light-footed Oliver in clarified, sensitive color — played up the peacemaking side of the character in red-soled loafers, urging the Capuletis to end the bloodshed and pleading with Capellio to take pity on his sickly daughter.

Young singers from Teatro Nuovo’s Resident Artist training program were on hand as understudies and chorus. Maestro del Coro Derrick Goff took a dynamic approach that brought out new harmonic shades and lyrical lines. Standouts included “Aggiorna appena” (as Capellio’s supporters) and “Siam giunti” (as Montecchis) accompanying Romeo to Giulietta’s tomb.

From conductor to chorus, exploratory interpretations brought out new perspectives to Bellini’s old, familiar work. For Teatro Nuovo, it is “mission accomplished.”