I Capuleti e i Montecchi

by Vincenzo Bellini

Opéra de Reims http://www.operadereims.com/?lang=fr

  • May 2013
    20:00 > 23:00
    3 hours
  • May 2013
    20:00 > 23:00
    3 hours
Find out more about the Cast , the Composition , the Composer

I Capuleti e i Montecchi


Press & Reviews

Patricia Maunder
The Capulets and the Montagues
This review refers to I Capuleti e i Montecchi at Victorian Opera.
The other Australian doing great things overseas, though performing with Victorian Opera for the fifth consecutive year, Jessica Pratt also brought tremendous drama to the role of Giulietta, both as singer and actress. Even the way she turned the pages of music expressed emotion and, if I’m not mistaken, Pratt wiped away genuine tears during Hulcup’s powerful finale, as the suicidal Romeo grieves for the seemingly dead Giulietta. Though the role has less of the coloratura fireworks that made her performance in 2017’s La Sonnambula so extraordinary, she nevertheless delivered a masterclass in bel canto singing, from almost whispered phrases of extraordinary substance to towering top notes, strong and pure. Her Act I duet with Hulcup was the concert’s highlight, their voices in gorgeous harmony, as if made for each other. Pratt wore a spectacularly full-skirted white gown and gold wrap for Act I, in which Giulietta dreads her impending marriage to Tebaldo, then returned in an only slightly more subdued shimmering black ensemble for the fatal second act.
Sydney Morning Herald
Bridget Davies
Romeo and Juliet soar in VO's Bellini without the bells and whistles
This review refers to I Capuleti e i Montecchi at Victorian Opera.
Pratt was at her pianissimo best in the opera's most famous piece, Oh Quante volte. She often gets the aria we're all waiting for and she doesn't disappoint. The stage was flooded with soft pink light as we were introduced to Giulietta, and Pratt began her signature virtuosic masterclass. It's a special moment when a soprano can fill a cavernous auditorium with notes so high and so quiet they make an audience lean in and gasp in awe as the singer descends. Pratt is that sort of special.
Simon Parris: Man in Chair
Simon Parris
Victorian Opera: The Capulets and The Montagues review
This review refers to I Capuleti e i Montecchi at Victorian Opera.
Expectations built steadily to Pratt’s entrance, with Juliet the last of the five characters to step on stage. Having celebrated her own wedding just last month, Pratt looked luminous in fluffy white bridal gown with luxurious gold wrap. While the role of Juliet does not provide quite the level of vocal fireworks as heard in other bel canto works, Pratt was nonetheless in exquisite voice, her performance again characterised by meticulous preparation and incredible interpolated high notes.

The Composition

I Capuleti e i Montecchi

Libretto written in italian by Felice Romani, was first premiered on a Thursday on March 11 of 1830

Vincenzo Bellini

Short biography of the composer
Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before' " A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his "long, long, long melodies ..." Wagner, who rarely liked anyone but himself, was spellbound by Bellini's almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti's having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. "The genuine triumph" of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.
Jessica has also performed in the following operas from the same composer:


General Management

Ariosi Management

Alessandro Ariosi

Press and Public Relations

Fidelio Artists

Ph. +34 616 76 08 66