Opera For Everyone: Episode 124 Summary – Giulietta e Romeo by Nicola Vaccai

Introduction

In Episode 124 of Opera For Everyone, hosted by Pat Wright and co-hosted by Kathleen Vanderwil, the duo delves into Nicola Vaccai's early 19th-century opera, Giulietta e Romeo. This episode, released on November 14, 2024, aims to illuminate the nuances of Vaccai's portrayal of the timeless Romeo and Juliet story, distinguishing it from Shakespeare's renowned tragedy. Through an engaging discussion, Pat and Kathleen explore the opera's historical context, character dynamics, and distinctive narrative elements, enriched with insightful quotes from the transcript.

Source Material and Historical Context

Pat and Kathleen begin by tracing the opera's origins, highlighting that Giulietta e Romeo predates Shakespeare's play and draws from Luigi da Porto's novella, Historia novalmente ritrovata di due nobili amanti (Newly Found Story of Two Noble Lovers). Kathleen notes, “the source material is first a poem and then a novella, which we believe he probably took it more from the novella” ([02:00]). They further explore the medieval roots of the story, referencing Masuccio Salernitano’s Mariotto e Ganozza, underscoring the archetypal nature of star-crossed lovers intertwined with familial conflict.

Pat elaborates on the historical factions influencing the narrative, mentioning the Guelphs and Ghibellines who were aligned with the Pope and the Holy Roman Emperor, respectively. He states, “These were actual groups because they were allied with different power structures” ([13:07]). This backdrop provides a deeper understanding of the operatic feud beyond the simplistic family rivalry depicted in Shakespeare's version.

Overview of Giulietta e Romeo by Nicola Vaccai

The hosts introduce Felice Romani, the prolific librettist behind the opera’s text, emphasizing his significant contribution to opera at Teatro della Scala in Milan. Pat remarks, “a good libretto was just a real find, a treasure for a composer” ([04:16]). They discuss Vaccai's adaptation of the source material, noting minimal reworkings and highlighting the opera’s premiere in Milan in 1825.

Kathleen observes the interchangeable nature of operas during the period, mentioning, “there's almost interchangeability between operas that seems to have not raised too many eyebrows at the time” ([07:40]). This reflects the pragmatic approach to opera production in the early 19th century, contrasting sharply with contemporary practices.

Character Analysis

Pat and Kathleen delve into the characterization within Vaccai's opera, distinguishing it from Shakespeare’s interpretation:

• Coppelio Capulet: Portrayed as Juliet's father, a military leader whose rigidity perpetuates the feud. Kathleen notes, “Coppelio is very stuck on the idea of marrying Teobaldo to Juliet” ([08:17]).

• Juliet: A more passive character compared to Shakespeare’s vibrant heroine. Kathleen remarks, “she is basically just this object in a way that the men of the play fight over” ([48:08]).

• Romeo: Presented as a strong, strategic leader rather than the romantic youth. Pat describes him as “the head of the Montague army” ([08:44]).

• Teobaldo: The Paris-like figure, eager yet respectful in his approach to Juliet, attempting to marry her without force.

• Lorenzo: Functions similarly to Friar Lawrence, acting as a mediator and confidant to Juliet, orchestrating the plan to unite the lovers.

Plot Summary

Giulietta e Romeo unfolds over two acts, with Pat and Kathleen providing a detailed recounting of key scenes, enriched with notable quotes.

Act 1

The opera opens with Coppelio summoning his supporters to discuss the worsening conflict as the Montagues receive reinforcement from Ezzelino ([08:17]). The opera diverges from Shakespeare by embedding the personal vendetta within a larger political war. A pivotal moment occurs when the Montague ambassador, revealed to be Romeo in disguise, proposes a marriage alliance to end the feud. Coppelio refuses, citing the blood feud as insurmountable ([27:10]).

A crucial duet between Romeo and Juliet signifies their reunion, yet an undercurrent of impending tragedy is evident:

Romeo (at 40:43): "We'll never be apart again. They're not going to take you from me."

This moment of happiness is swiftly overshadowed by external conflicts, leading to the disruption of a wedding ceremony by Romeo's forces ([30:29]).

Act 2

The second act escalates the tragedy as Romeo duels and kills Teobaldo, deepening Coppelio's wrath and devastation:

Coppelio (at 102:37): "I'm a perverted father. I killed my own daughter. My house is ruined."

Juliet, distraught by the violence and her father's rejection, seeks help from Lorenzo for a way out. The plan to fake her death fails when the crucial message to Romeo never reaches him, leading to a fatal misunderstanding. Romeo, believing Juliet to be dead, takes poison, and Juliet, upon awakening, finds him lifeless. Her death, portrayed as succumbing to heartbreak, culminates in a poignant finale where she falls over Romeo's body, unable to survive without him ([117:59]).

Musical Elements and Performance

Pat and Kathleen commend Vaccai's composition, noting the operatic styles typical of the period. They highlight the use of different voice types to signify characters, such as Romeo being a mezzo-soprano trouser role, adding a layer of gender complexity to the performance. The 2018 recording featured by Accademia Teatra alla Scala is praised for its faithful rendition and emotional depth.

Kathleen appreciates the integration of musical motifs that underscore the opera's dramatic tension:

Kathleen (at 36:06): "There's an undercurrent throughout, even the joy of impending tragedy."

Insights and Discussion Points

The discussion touches on the portrayal of gender roles and agency within the opera. Juliet's limited agency contrasts sharply with Shakespeare's empowered character, reflecting societal norms of the early 19th century:

Kathleen (at 49:00): "She's the most gorgeous woman he's ever seen... there is a very different way in which she ends."

Pat connects the opera’s themes to Luigi da Porto's personal experiences, suggesting that Deporto's own heartbreak influenced the portrayal of trust and faithfulness:

Pat (at 73:14): "He just had this broken heart and never really tried in the faithfulness of women again."

This personal dimension adds emotional depth to the opera's narrative, making it a rich subject for operatic exploration.

Conclusion

Episode 124 of Opera For Everyone offers an insightful exploration of Nicola Vaccai's Giulietta e Romeo, distinguishing it from its literary counterpart through its historical context, character dynamics, and dramatic intensity. Pat Wright and Kathleen Vanderwil skillfully navigate the opera's complexities, providing listeners with a comprehensive understanding of its place in operatic history. By highlighting Vaccai's unique interpretation and the opera's enduring themes of love, conflict, and tragedy, the episode underscores the timeless appeal of the Romeo and Juliet story adapted through the lens of early 19th-century opera.

Notable Quotes

• Pat Wright [02:00]: "The source material is first a poem and then a novella, which we believe he probably took it more from the novella."

• Kathleen Vanderwil [08:17]: "Coppelio is very stuck on the idea of marrying Teobaldo to Juliet."

• Romeo [40:43]: "We'll never be apart again. They're not going to take you from me."

• Coppelio [102:37]: "I'm a perverted father. I killed my own daughter. My house is ruined."

Credits and Acknowledgments

Giulietta e Romeo was performed by Leonardo Cortellazzi (Coppelio), Leonor Bonilla (Giulietta), Raffaella Lupinacci (Romeo), Paoletta Marocu (Adela), Vasa Steikik (Teobaldo), and Christian Sen (Lorenzo), conducted by Sesto Quattrini with the Orchestra Accademia Teatra alla Scala and Chorus del Teatro Municipale di Piancenza under chorus master Corrado Casati.

Final Notes

Pat and Kathleen conclude the episode by praising the availability of Vaccai's opera and encouraging listeners to explore the recording. They also promote Kathleen's blog, Constructive Criticism, and invite feedback to enhance future episodes.

This summary captures the essence of Episode 124 of Opera For Everyone, providing a comprehensive overview for those who haven't listened to the podcast.