For never was a story of more woe
Than this of Juliet and her Romeo.

Never was a truer couplet written by Shakespeare. His story of “star-crossed lovers” has inspired generations of artists — composers, painters, choreographers and film-makers — to recapture the magic of Romeo and Juliet’s young love, and the anguish of their “untimely death”.

On Thursday 25th August, the audience at Canna House in Day’s Bay was treated to Bellini’s setting of their story, sung superbly by rising stars of New Zealand’s operatic firmament. 

Composed in 1830, I Capuleti e I Montecchi (The Capulets and the Montagues) truncates the young lovers’ story. Romeo and Giulietta have already met, kissed, and loved — we’ve missed the happy part of their story. Giulletta’s brother was killed by Romeo earlier, in a battle between the warring factions. Of the families, only father Capellio (Capulet) appears, and Giulietta’s Nurse is off-stage, leaving Friar Laurence as the lone aider and abetter of the lovers, here demoted to the family doctor Lorenzo. 

Perhaps this downsizing is the reason Bellini’s opera is not often performed, which is a great pity since his music is truly sublime — none better suited to the raptures of love and the laments of loss. Day’s Bay Opera’s version is shorter again, with all but one chorus cut. While this is practical, given the domestic venue, we do lose the relief that the powerful choruses provide in the full opera from the intensity of the lovers’ serial dilemmas. 

But this is a minor quibble. All kudos to producer Rhona Fraser for allowing Wellington opera-lovers to hear this wonderful music live, in the evocative candlelit setting of her Canna House lounge. Central to the success of Mrs Fraser’s productions is her intelligent casting of many of Wellington’s finest young singers.

Soprano Katherine McIndoe sings Giulietta’s music with passion and conviction, expressing Bellini’s melismas as Giulietta’s sighs and sobs, as they should be. Her voice is richly coloured and beautifully produced, clearly heading for more dramatic repertoire than young Giulietta.  

Felipe Manu sounds — and looks — gorgeous as Giulietta’s bloodthirsty fiancé Tebaldo (Tybalt). His tenor is truly Italianate, and no doubt we will hear him singing Puccini and Verdi in future. Lorenzo is sung by William King, with a warm, light baritone. His is a less mature voice than the others’, and he is rather young for Lorenzo, but his musicality and acting ability means he holds his own with his colleagues.

Anchoring the young cast with his powerful presence and voice is veteran bass Barry Mora. He brings dignity and fury to Capellio. His resonant voice underpins the ensembles, and reveals an impressive pianissmo in the glorious Quintet that closes Act I. The duet-chorus of Luka Venter and William McElwee add essential off-stage drama to replace the cut chorus scenes. 

But the star of the show for this reviewer is undoubtedly Bianca Andrew as Romeo (Romeo is a ‘trouser’ role for mezzo-soprano, which allows duets with the soprano to blend in the same register). Back from her studies at London’s Guildhall for the summer break, it is such a pleasure to hear — and especially to see — Andrew again. Day’s Bay Opera has featured this emerging talent in many of their annual productions, from her first appearance as a sexy Cherubino in Marriage of Figaro to an engaging Ottavio in Der Rosenkavalier. The role of Romeo could have been written for her, it suits her so well (and likely the opera was chosen to showcase her skills).  

Andrew’s innate acting ability has always been her greatest asset. Her fluid, well-focussed voice is now developing in power and fire, and especially in brilliance at the top. But what stands out about Andrew’s performances is how she lives each role.

Watching Andrew, we are instantly in medieval Verona, feeling Romeo’s sincerity and despair. Our attention is riveted by the anguish and passion expressed so clearly by Andrew’s face and body, and through her voice. This is a potentially world-class talent, who we are fortunate to have watched developing in Wellington. We can only trust that she gets the support and training necessary to negotiate a career path through the bear pit that is the international operatic world. 

Bellini’s music would not live and bloom as it does in this production without the expert musicianship of Rosemary Barnes. She directs from the piano simply by the way she plays a full orchestra of instrumental colours and textures. Barnes is ably assisted by clarinetist Hayden Sinclair, who provides many of the plaintive melody lines. Horn player Greg Hill gave us essential colour for Giulietta’s lovely opening aria “Eccomi in lieta vesta… Oh quante volte…”. 

Transporting this production to the Scottish highlands, and converting it into the feud between the Macdonalds and the Campbells, would be a great idea for a fully staged production, but in this semi-staged domestic setting it doesn’t add much… except flattering costumes for the male characters in their kilts. The angels (Mila and Isabel van der Wilt) are charming, but also not necessary, and even a little distracting when they hover over the doomed lovers. 

What does add to the (rather crowded) atmosphere in Canna House are the candles. Clustered about the ‘stage’, hung over Giulietta’s bed, and becoming portable spotlights for the singers’ faces when carried, the use of candles is inspired. The scent of beeswax and smoke of extinguished flames truly does transport us to another time. 

This show is a feast for lovers of bel canto opera, plus those who appreciate any music theatre that is well sung. It is worth flying in from beyond Wellington to see, for we are not likely to hear Bellini sung to this standard again in New Zealand for many a year.  

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