Jasmine Habersham and Evan Leroy Johnson Photo by Ken Howard

Charles Gounod composed Romeo and Juliet as a follow up to his hugely popular Faust, working again with Faust's librettists, Jules Barbier and Michel Carré. Romeo and Juliet premiered in April, 1867 at Théâtre Lyrique in Paris, with productions in both London and New York appearing later that same year. With Romeo and Juliet Gounod had another success, one that continues to be staged by the world's opera companies well into the 21st century.

Of course, in choosing Shakespeare's Romeo and Juliet, Gounod had a story well known to the public, allowing the opera to consolidate its narrative, assured that audiences would be able to follow the tragic storyline without difficulty. All of the high points of this tale of star-crossed lovers are present: an opening exposition to lay out the landscape of two noble families engaged in a vicious feud; a masked ball at which Romeo and Juliet fall instantly in love; a romantic balcony scene followed by a secret wedding; a brawl between the two families in which Romeo, pushed beyond reason, slays Juliet's kinsman, Tybalt; a fervid consummation of the marriage before Romeo's exile; and, finally, a scheme meant to allow the young lovers to escape the hatred stoked by their elders that goes tragically wrong.

Well, of course, there is more going on in each of those episodes than the skeletal outline above–there is Romeo's boon companion, Mercutio, whose bravado contributes to the tragic conclusion, and Friar Laurence, who hopes that in uniting the young lovers in marriage the two families will abandon their ancient feud. There is also Juliet's sympathetic nurse, here given the name Gertrude, and Paris, the older and unexciting nobleman Juliet's family expects her to wed, but the opera gives those two little to do. It gives more attention to expanding on flourish and musical intricacies than intricacies of plot. There are also ballet sequences, elegantly choreographed by Eve Schulte and James Sewell, gracefully executed by six members of James Sewell Ballet.

In most regards, slimming down narrative details serves to allow the special gifts inherent to opera to shine, notably the shimmering music. While Gounod did not compose anything in Romeo and Juliet that has acquired a life of its own beyond the opera, the score is consistently moving and synchronized precisely with the emotional of each moment. Duets for the two lovers are particularly affecting. The Minnesota Opera Orchestra, led by principal conductor Christopher Franklin, sounds exquisite and conveys the feelings both Shakespeare and Gounod have imbedded in the work. The libretto, too, is particularly eloquent. Without knowing how closely the translated English supra-titles match the French in which Romeo and Juliet is sung, I can only attribute the poetic text to librettists Barbier and Carré.

The performances are all beautifully sung. Jasmine Habersham has a glorious soprano, at first carefree in the lilting ballroom waltz, than acquiring the luster of passionate love, and finally, the gravitas of her tragic end. Evan Leroy Johnson, as Romeo, has a sweet tenor to convey the brooding young man's sensitive nature, then erupts into ecstasy as his love blossoms, only to fall into despair. The only shortcoming is that there seems to be little chemistry between Habersham's Juliet and Johnson's Romeo. Both artists sing with passion, but it feels as if their passion is for the music entrusted to them, rather than for each other. Only in the final scene, when all their dreams are shattered, do they convey the depth of a love that has driven them to this tragic end.

Of the other members of the company, Charles H. Eaton stands out for his hearty baritone and expressive performance as Mercutio. Adam Lau's resonant bass and somber manner delivers a stirring Friar Laurence, and John Mburu's authoritative bass is well suited to Lord Capulet. Angel Vargas also makes a strong impression as Tybalt, egging on discord between the two feuding families. Soprano Kara Morgan, as Romeo's mischievous page, uses her melodious voice and frisky manner to deliver a cheery song meant to aggravate the opposing Capulets.

As stated, the physical production is stunning. Set designer William Bowles has placed a gilded frame hanging high above the stage through which downward-pointing daggers and lush roses descend to foretell moments of danger and of joy, sometimes the two existing together. Another ornate frame embraces a bare metal staircase, with its landing serving as Juliet's balcony. The Capulet family crypt is depicted in a particularly chilling manner that adds to the emotional weight of the final scene. Paul Whitaker's lighting design creates evocative moments that focus on the fraught nature of Romeo and Juliet's love. Fight director Mason Tyer has staged the swordplay with authentic dash.

Sarah Bahr's period costumes are steeped in medieval imagery, with Juliet always clothed in white to underscore her innocence. A bit of license is taken by having the two leads first appear, during the prologue, in contemporary street clothes and then having the other characters dress them in their period apparel, only to return to their original contemporary garments for the final scene. This, I surmise, is intended to show the enduring relevance of this tale of love being cut down by hate. The point must have felt important to make in 2016, given the state of our nation at that time. It now comes across all too clearly, with the run of this production spanning a national election that has spurred civil discord in our nation as surely as did the Capulets and Montagues.

Minnesota Opera's Romeo and Juliet offers a gorgeous score, beautifully performed by both orchestra and singers, and a striking staging that places this ancient tale in a physical setting that underscores its timeless quality. It is absolutely worth a visit, whether for the first time or to relive the power of its 2016 premiere.

Romeo and Juliet, presented by Minnesota Opera runs through November 10, 2024, at the Ordway Center for the Performing Arts, 345 Washington Street, Saint Paul MN. For tickets and information, please visit www.mnopera.org or call 612-333-6699.

Music: Charles Gounod; Lyrics: Jules Barbier and Michel Carré; Principal Conductor: Christopher Franklin; Stage Director: Matthew Ozawa; Associate Stage Director: Margaret Jumonville; Scenic Design: William Boles; Costume Design: Sarah Bahr; Lighting Design: Paul Whitaker; Wig, Hair and Make-Up Design: Priscilla Bruce; Choreography: James Sewell, Eve Schulte; Intimacy Director: Tom Ringberg; Fight Director: Mason Tyer; Head of Music and Assistant Conductor: Mario Antonio Marra; Chorus Director: Celeste Marie Johnson; Repetiteurs: Fumiyasu Kawase, Eric McEnaney; Assistant Stage Director: Sydney Roslin; Stage Manager: Luci Burdick.

Cast: Charles H. Eaton (Mercutio), Lois Estell (Lady Capulet), Jasmine Habersham (Juliet), Evan Leroy Johnson (Romeo), Adam Lau (Friar Laurence), Yuran Liu (Count Paris), John Mburu (Lord Capulet), Kara Morgan (Stephano), Nathan Romportl (Benvolio), Angel Vargas (Tybalt), Victoria Vargas (Gertrude), David Wolfe (Gregorio), Philip Zawisza (Duke of Verona).

Dancers: Kalie Bullock, Imagine Joy (Demetrius McClendon), Javan Mngrezzo, Sean Scantlebury, Olivia Thornton, Emily Trapnell.