Roméo et Juliette Transmission Transcript
READ: Green Show Intro
RYAN SPEEDO GREEN: Hello. I’m Ryan Speedo Green. Welcome to our transmission of Roméo et Juliette, in which composer Charles Gounod’s lush score heightens the romance and tragedy of Shakespeare’s immortal play. The basic story remains the same. Two young lovers fall victim to an ancient feud between their warring families. As you can see from the costumes, the action is set in the 18th century – Director Bartlett Sher’s exquisite production.
In Gounod’s streamlined operatic version, the dramatic focus is almost entirely on Roméo and Juliette and it requires a pair of artists who are up to the challenge of singing some of the most beautiful arias and duets ever written. We have two such singers today, both at the peak of their operatic powers. American soprano Nadine Sierra and French tenor Benjamin Bernheim. Rarely on the famous stage of the Met have the title roles been sung with such passion and perfection. Our stellar cast also features Will Liverman as Mercutio and Samantha Hankey as Stéphano, members of Roméo’s Montagu entourage. Frederick Ballentine as Tybalt Juliette’s cousin and a member of the Capulets, the mortal enemies of the Montagues. Alfred Walker is the benevolent Frére, who tries in vain to help the young lovers.
Met’s music director Yannick Nézet-Séguin, a master of the French repertoire, is in the pit and ready to start the performance. Here is Roméo et Juliette.
INTERVIEW: Green w/ Nadine Sierra & Benjamin Bernheim
RYAN SPEEDO GREEN: Nadine, Ben, Hello, hello.
NADINE SIERRA: Hello.
RYAN SPEEDO GREEN: What amazing singing.
NADINE SIERRA: Thank you.
BENJAMIN BERNHEIM: Thank you very much.
RYAN SPEEDO GREEN: You two have such remarkable chemistry. How do you do it?
NADINE SIERRA: I hate him. No, I’m kidding. (Laughs)
BENJAMIN BERNHEIM: We hate each other. We hate each other. (Laughs)
NADINE SIERRA: That’s not true.
RYAN SPEEDO GREEN: No, no, but for real, though, how do you guys do it?
NADINE SIERRA: I – I don’t know. I have a very big respect for Ben. We’ve known each other for a few years.
BENJAMIN BERNHEIM: Five years now.
NADINE SIERRA: Yes.
BENJAMIN BERNHEIM: No, even more.
NADINE SIERRA: Or even more.
BENJAMIN BERNHEIM: Yeah.
NADINE SIERRA: We met a few years ago. And, I don’t know, it’s just – I feel so comfortable with Ben. And I think because also he opens his heart to me.
RYAN SPEEDO GREEN: He does.
NADINE SIERRA: Yeah, and his – his talent, it’s just so easy to sort of take a dive in, and I think vice versa. I let him in as well, so...
BENJAMIN BERNHEIM: Yeah. It’s a, you know, two-way drive for both of us. We give a lot, we receive a lot, and I feel very comfortable.
NADINE SIERRA: Me too.
BENJAMIN BERNHEIM: And every performance is different.
RYAN SPEEDO GREEN: Oh, beautiful. So, Nadine, you’ve had huge successes at the Met recently as Violetta in La Traviata and as Lucia in Lucia Lammermoor. And Juliette also seems to fit you like a glove. What is it about this role that suits you?
NADINE SIERRA: Oh, her youth, her energy.
RYAN SPEEDO GREEN: Yeah.
NADINE SIERRA: And this idea of love. You know, pure love, true love. I am also quite a romantic at heart in my personal life.
RYAN SPEEDO GREEN: Yeah.
NADINE SIERRA: And I just – I love playing characters like this – although we know what the ending is for Roméo and Juliette, it’s still beautiful, it’s still timeless. And it’s a classic. So, it’s really one of my favorites.
RYAN SPEEDO GREEN: Beautiful. Benjamin, you had a great debut at the Met last season as the Duke in Rigoletto. But with Roméo, you’re singing in your native tongue. Does that make a difference?
BENJAMIN BERNHEIM: It makes a big difference for me.
RYAN SPEEDO GREEN: Tell me how.
BENJAMIN BERNHEIM: It’s, uh – it’s just – it’s very [speaks French], common, easy. And it’s difficult also because I’m sharing something that is – that is special, uh, which is my version of the French repertoire. And I feel at home. You know, I love Italian, I love Russian, I love German but French is being at home. So, I bring home to your home.
RYAN SPEEDO GREEN: Yeah. Nadine, I’ve heard the story that you started learning this role at the tender age of 13?
NADINE SIERRA: Yes.
RYAN SPEEDO GREEN: With none other than the legendary soprano, Roberta Peters as your teacher. We have a photo of you and Ms. Peters when you were about 15.
NADINE SIERRA: Yes, I was 15.
RYAN SPEEDO GREEN: Tell me about that experience.
NADINE SIERRA: She – so, I met her in South Florida.
RYAN SPEEDO GREEN: Yeah.
NADINE SIERRA: I was – I mean, I’m from Florida and I was looking for teachers at the time. I started studying opera when I was ten. So, I was quite serious about, you know, finding the guru of opera and I, you know, met Roberta Peters. And it was just such an honor to take a few lessons with her.
RYAN SPEEDO GREEN: Yeah.
NADINE SIERRA: And at the time, I did find another vocal coach, who is my vocal coach for 22 years, Kamal Khan, whom I love.
RYAN SPEEDO GREEN: Yeah. That’s (indiscernible).
NADINE SIERRA: Yeah, and she gave me her blessing to work with Kamal. And I stayed in touch with Roberta Peters until probably the time I was 18.
RYAN SPEEDO GREEN: Wow.
NADINE SIERRA: And, uh – yeah, she taught me “Je veux vivre” specifically. She really focused on the French and the style of the piece, and she was quite stern, very strict, but really a loving and very talented woman.
RYAN SPEEDO GREEN: We say that every stage – every time you step on the stage.
NADINE SIERRA: Thank you.
RYAN SPEEDO GREEN: So, you both are – have a large social media following. So, we’ve asked, uh – we got a couple questions from your fans. Benjamin, SaraBStare on X wants to know do any of the iconic performances of the past inspire you?
NADINE SIERRA: Oh, that’s a good question.
RYAN SPEEDO GREEN: Yeah. Roméo.
BENJAMIN BERNHEIM: Performances of the past. Of course. Uh, I mean, for me, one of the best was Neil Shicoff.
RYAN SPEEDO GREEN: Yes.
BENJAMIN BERNHEIM: Also, Plácido did an amazing one. But the one that really gave me, how do you say, the hunger for this repertoire is Roberto Alagna and, he really paved the way for me for this repertoire, for this way of singing. And, you know, the tradition of the French singing.
1RYAN SPEEDO GREEN: And even in his youth, always in his voice. I love that about him.
BENJAMIN BERNHEIM: Yeah.
RYAN SPEEDO GREEN: So, Nadine, an Instagram fan asks, how high is the danger of tripping over Juliette’s beautiful dress?
NADINE SIERRA: Oh, it’s very high. I think it’s – I think, it’s –
BENJAMIN BERNHEIM: And me. It happened to me today.
RYAN SPEEDO GREEN: So, you tripped over her dress? (Laughs)
BENJAMIN BERNHEIM: Yeah.
NADINE SIERRA: It’s high for everybody.
RYAN SPEEDO GREEN: Yeah, okay, okay, well –
NADINE SIERRA: My costumes are very beautiful but you have to proceed with caution.
RYAN SPEEDO GREEN: Okay.
NADINE SIERRA: This is definitely very accurate.
RYAN SPEEDO GREEN: Okay, so, Nadine, Ben, magnificent singing today.
NADINE SIERRA: Thank you.
RYAN SPEEDO GREEN: With a lot more to come.
NADINE SIERRA: Yeah.
BENJAMIN BERNHEIM: Thank you. Yeah.
RYAN SPEEDO GREEN: Thanks so much for speaking with me.
NADINE SIERRA: Thank you. It was a pleasure.
BENJAMIN BERNHEIM: Thank you, Ryan.
READ: Throw to tape
RYAN SPEEDO GREEN: Shakespeare’s Roméo et Juliette inspired Charles Gounod to great heights. And he, in turn, has inspired acclaimed visual artist Jill Mulleady. She created this intriguing piece of video art entitled “Juliette’s Slumber” as part of the contemporary video art program, Gallery Met Shorts.
READ: Neubauer / Throw to break
RYAN SPEEDO GREEN: Roméo et Juliette will certainly continue to inspire artists of all stripes for generations to come. The Met’s Live in HD Series is made possible thanks to its founding sponsor, the Neubauer Family Foundation. Digital Support is provided by Bloomberg Philanthropies. The Met’s Live in HD Series is supported by Rolex.
Today’s performance of Roméo et Juliette is also being heard live over the Robert K. Johnson Foundation Metropolitan Opera International Radio Network. We’ll be back after a break.
READ: Throw to tape
RYAN SPEEDO GREEN: Welcome back. There are just two more live cinema transmissions from the Met coming up this season. The next one on Saturday, April 20th, is Puccini’s poignant love story La Rondine starring soprano Angel Blue. Here’s an excerpt of Angel singing her glorious Act One aria “Chi il bel sogno di Doretta” at yesterday’s final dress rehearsal.
INTERVIEW: Green w/ Angel Blue
RYAN SPEEDO GREEN: Angel Blue is with me now. Hello, Angel.
ANGEL BLUE: Hi, Speedo. It’s good to see you.
RYAN SPEEDO GREEN: Good to see you too. You’ve enjoyed such great successes on the stage of the Met singing a number of iconic roles from Bess in Porgy and Bess to Violetta in La Traviata, to Micaela in Carmen earlier this season. With La Rondine you’re tackling one of opera’s less familial – familiar heroines, Magda, who is at the center of the story. What would you like to share about La Rondine?
ANGEL BLUE: I love the story of La Rondine because it’s actually a story about redemption and a story about great love and forgiveness. And I think sometimes because the music is so beautiful, that can be lost. One of the reasons that Magda actually leaves her love in the end – sorry, I just spoiled the opera for everyone – but one of the reasons that she loves her – her love at the end is because she is unable to forgive herself.
RYAN SPEEDO GREEN: Ah.
ANGEL BLUE: And he forgives her. I think he would have forgiven her if she decided to stay.
RYAN SPEEDO GREEN: Yeah.
ANGEL BLUE: But I think this is the first time I’ve played a role where I think the character is truly complex in her core, in her – in her innermost being. And so I hope that people will go on this journey with me and enjoy the journey that she’s on.
RYAN SPEEDO GREEN: I think they will.
ANGEL BLUE: But I imagine at the end of it, everyone will have a different opinion on – on her decisions. But it is a beautiful story of forgiveness, if one sees it.
RYAN SPEEDO GREEN: And that kind of leads into my next question.
ANGEL BLUE: Yes.
RYAN SPEEDO GREEN: People sometimes compare the story to Verdi’s La Traviata, with, you know, a courtesan leaving Paris to pursue true love.
ANGEL BLUE: Yes.
RYAN SPEEDO GREEN: What would you like to say to that?
ANGEL BLUE: I don’t think it’s the same at all. (Laughs)
RYAN SPEEDO GREEN: Okay. Exactly.
ANGEL BLUE: I don’t think it’s the same at all. But, I mean, and of course the music is – it’s not Verdi, it’s Puccini.
RYAN SPEEDO GREEN: Yeah.
ANGEL BLUE: So, the music – musically, it’s very different.
RYAN SPEEDO GREEN: Very different.
ANGEL BLUE: But I also think the women – both of those women are quite different also. But maybe they have a little similarities in their journeys.
RYAN SPEEDO GREEN: Well, one gets to live. (Laughs)
ANGEL BLUE: Yes, one gets to live and the other one doesn’t, that’s true. (Laughs0
RYAN SPEEDO GREEN: You know, the music, as we heard, is just gorgeous.
ANGEL BLUE: Yes.
RYAN SPEEDO GREEN: And especially with your voice.
ANGEL BLUE: Thank you.
RYAN SPEEDO GREEN: You open on Tuesday. What are your feelings about it so far?
ANGEL BLUE: Oh, goodness. I have – there’s a plethora of feelings going on right now. I’m just – first of all, I’m just really honored to be at the Metropolitan Opera again. This is my, I believe, seventh or eighth season with this company.
RYAN SPEEDO GREEN: Yeah.
ANGEL BLUE: And I’m honored to be singing this role, I’m honored to be standing here right now speaking with you. So, I hope everyone will come and see La Rondine – HD April 20th.
RYAN SPEEDO GREEN: And I speak for the audience, and I think it’s also an honor to hear you on the stage.
ANGEL BLUE: Thank you.
RYAN SPEEDO GREEN: So, how does it compare to other Puccini roles?
ANGEL BLUE: Yes, this one is very different in that this was – he was commissioned to write this piece to – to be like, um, opera comique. I’m sorry, I can’t think of the – comedia.
RYAN SPEEDO GREEN: Yes.
ANGEL BLUE: To be a comedy. But it’s not. There are comical moments but it’s very different than Tosca, than – than La Boheme, than Turandot. It’s different than all of those because it really is like a play.
RYAN SPEEDO GREEN: Yeah.
ANGEL BLUE: There really are a lot of – much dialogue that happens between the characters in Act One – you’ll see it.
RYAN SPEEDO GREEN: Thank you so much, Angel, for this.
ANGEL BLUE: Yes.
RYAN SPEEDO GREEN: You know, toi toi toi for the opening.
ANGEL BLUE: Thank you.
RYAN SPEEDO GREEN: And I can’t wait to see you –
ANGEL BLUE: Thank you.
RYAN SPEEDO GREEN: — and the entire cast in La Rondine in the movie theatres on April 20th. Thank you.
ANGEL BLUE: Thank you. Thanks, Ryan.
RYAN SPEEDO GREEN: Bye.
READ: PSA / Fundraising / Throw to Madama Butterfly clip
RYAN SPEEDO GREEN: It has been almost ten years since Met audiences got to see La Rondine and a full 15 since it was last present in cinemas. I love that audiences around the world will get to hear my friend Angel in this stirring Puccini romance. But as thrilling as her voice and Puccini’s score are on screen, they don’t have the same impact as here inside the Met. Nothing can match the experience of hearing opera inside the opera house. So, please, come to the Met or visit your local opera company.
Angel Blue and other stars today, Nadine Sierra and Benjamin Bernheim are part of a new vanguard of opera singers, a generation of outstanding vocal talent, musical and theatrical intelligence, and a deep desire to connect with new audiences. And the Met is dedicated to showcasing these artists whether in classics like Roméo et Juliette, or La Rondine, or in new works like Terrence Blanchard’s Fire Shut Up in My Bones, which I’m in the midst of rehearsing right now.
But staging opera, whether a new piece or a beloved favorite, is expensive and ticket sales cover only a fraction of the cost. The Met relies on opera lovers like you to help make up the difference. So, if you’re able to make a donation, please visit metopera.org/membership or call us at 1-800-MET-OPERA. You can also text HDLIVE to 44321 to make a contribution. We thank you for your support.
After La Rondine, we’ll have just one more HD transmission this season, another Puccini opera, his monumental Madama Butterfly on May 11th. The production stars soprano Asmik Grigorian, the widely celebrated singing actress who’ll be making her much anticipated Met debut. She recently sang Madama Butterfly at the Vienna State Opera in the same beloved Anthony Minghella production we’ll see here at the Met. Here’s an excerpt of Asmik singing the classic “Un bel di.”
INTERVIEW: Green w/ Peter Gelb
RYAN SPEEDO GREEN: Joining me now to talk about this important Met debut is general manager Peter Gelb.
PETER GELB: Speedo, great to see you. Thank you for doing this today. And before we talk about Asmik, I have two things I wanted to say. First of all, I want to thank you for all that you’re doing for us. You know, you are part of the new wave of great artists who are going to be dominating the stage, uh, in the years to come and already. And the other message, uh, which I want to say to our – to our viewers out there is that the, um – we’ve had some torrential rain, uh, downpours around New York where our satellites emanate from, which is why there have been a couple of 45-second dropouts. So, uh, you have to blame that on climate change, and I’m sorry for that and hopefully we’ll fix the climate.
RYAN SPEEDO GREEN: Okay. So, back to Asmik, you know, she’s new to American audiences and Met audiences, but she has a huge following in Europe. What makes her such an intriguing and popular artist?
PETER GELB: You know, Asmik is kind of a throwback to another era. You know, she is the consummate actress and she is a great singer, and she tackles all the roles. I mean, I don’t know any artist since, you know, maybe back in the old time of opera stars who – has there been a singer who can sing, you know, the, uh, role of Loretta, say, in Gianni Schicchi, and also the next season be singing Turandot. So, you know, this is a range like no other singer has.
RYAN SPEEDO GREEN: Versatile, to say the least.
PETER GELB: Right. And she has such dramatic, uh, ability and intelligence in her singing and she can tackle any of these roles and – and deliver them convincingly.
RYAN SPEEDO GREEN: Well, what has taken – taken her so long to make it to the Met?
PETER GELB: Well, quite frankly, we were slow on the draw. Uh, you know, I – I have known about Asmik but we – you know, unlike you, for example, who we’ve been nurturing since, uh –
RYAN SPEEDO GREEN: Since birth, it seems. (Laughs)
PETER GELB: – since your teenage years – the – uh, with Asmik we were a little bit late. And, uh, you know, she – her career has taken off and now we’re scrambling to get her here. But I can assure our audiences that she will be at the Met a lot in the coming seasons.
RYAN SPEEDO GREEN: I’m sure that’s a really good problem for her to have. (Laughs) What do you expect her to bring to the role of Cio Cio San in Butterfly?
PETER GELB: Well, I think she’ll bring what she brings to every role that she inhabits, which is, you know, complete, uh, immersion in the part. Uh, she will sing Cho Cho San unlike it’s ever been sung before.
RYAN SPEEDO GREEN: Oh, man.
PETER GELB: And I think it’s going to be a very exciting experience for our audiences in the opera house and in the cinemas who – who watch it.
RYAN SPEEDO GREEN: Mr. Peter, there’s so much anticipation around Asmik’s Met debut. Thank you for talking to us about her artistry.
PETER GELB: Thanks a lot, Speedo.
RYAN SPEEDO GREEN: Thank you.
PETER GELB: It’s our inside joke that you all me Mr. Peter – (Laughs)
RYAN SPEEDO GREEN: I can’t help it. I won’t feel bad. You’ll always be Mr. Peter to me. (Laughs)
PETER GELB: Well, bravo to you, Speedo. Thanks so much.
RYAN SPEEDO GREEN: Thank you.
INTERVIEW: Green w/ Yannick Nézet-Séguin & Bartlett Sher
RYAN SPEEDO GREEN: It’s almost time to get back to the world of Roméo et Juliette. But first I’m joined by your maestro, Yannick Nézet-Séguin and this production’s director Bartlett Sher. Pleasure. Thank you, guys, for being here.
BARTLETT SHER: Hey, how are you?
YANNICK NÉZET-SÉGUIN: Hey, Speedo.
RYAN SPEEDO GREEN: Oh, Maestro –
YANNICK NÉZET-SÉGUIN: Good to see you.
RYAN SPEEDO GREEN: Maestro, I know you have a long history with this opera. What has it meant to you over the years?
YANNICK NÉZET-SÉGUIN: I think this is the best Gounod opera, period. I know there’s a lot of diehard fans of Faust, and I am, but I think this piece is just perfect. It’s perfect for the love duets, it’s perfect for the choruses, it’s perfect for the action, for the intimacy. And my own history with the opera –
RYAN SPEEDO GREEN: I know.
YANNICK NÉZET-SÉGUIN: – is connected to Bart.
RYAN SPEEDO GREEN: Speaking of that, yeah, you know, I’m understanding your Salzburg debut was with this opera in a slightly different version of Bart’s production is what led you to your invitation to conduct at the Met. Is that right?
YANNICK NÉZET-SÉGUIN: That’s absolutely right. That’s my first time meeting Mr. Peter, who was just here.
RYAN SPEEDO GREEN: Yeah. (Laughs)
YANNICK NÉZET-SÉGUIN: It was my – my first time, I remember. And, uh, the rest is history, I guess. (Laughs)
RYAN SPEEDO GREEN: Well, Bart, you’ve directed both Shakespeare’s play and Gounod’s opera of Roméo and Juliet. What does Gounod’s perspective on the opera bring to this timeless story?
BARTLETT SHER: Um, well, it’s very faithful to the play.
RYAN SPEEDO GREEN: Yeah.
BARTLETT SHER: So, you feel it’s in the same sequence and that’s quite nice. It just adds this extraordinary music underneath it, so you can kind of extend all these beautiful sequences with this extraordinary lift that comes with it. And Shakespeare language is a very helpful libretto.
RYAN SPEEDO GREEN: It is, it is. Maestro, you’ve said that people sometimes underestimate this score. What makes it special in your opinion?
YANNICK NÉZET-SÉGUIN: I think the love duets. I’ll start with this. They are very often pared down to a very small orchestra. You know, just the strings and a little bit of woodwind solos. And I think we – it’s almost like we open the door and we see just Roméo and Juliet in a tiny room or a bedroom and we go with them and we almost spy on them because the orchestration is so small. And yet there’s some Wagnerian moments in it.
RYAN SPEEDO GREEN: Yeah.
YANNICK NÉZET-SÉGUIN: And the big – what we’re about to hear with the fight scene, it’s so energetic and grand. Almost like Wagner.
RYAN SPEEDO GREEN: Yeah.
YANNICK NÉZET-SÉGUIN: So, this is – but there – there are some challenges, and I think one of the challenges is that it can become a little square and a little slow. But thanks to the wonderful cast –
RYAN SPEEDO GREEN: Yeah. But not with you leading the way – absolutely not.
YANNICK NÉZET-SÉGUIN: (Laughs)
RYAN SPEEDO GREEN: Bart, let’s talk about your setting of the story. What were – what were you and your long-time designers, Michael Yeargan and Cathy Zuber looking to explore in the production’s design?
BARTLETT SHER: Um, well, we were really interested, believe it or not, in Fellini’s Casanova , which is this incredible move from –
RYAN SPEEDO GREEN: Okay.
BARTLETT SHER: – which was a version of the 18th century. We didn’t want the period to go as deep into the Renaissance as like, the Zeffirelli. We wanted to pull it up and make it a slightly more decadent world and a little more exuberant and full of life. And so we pulled it forward by about 150 years and –
RYAN SPEEDO GREEN: Those costumes and sets are stunning.
BARTLETT SHER: Yeah, they’re so great, they’re so amazing.
RYAN SPEEDO GREEN: Maestro, tell us about working with your amazing stars Nadine Sierra and Benjamin Bernheim.
YANNICK NÉZET-SÉGUIN: I mean, I knew Nadine already. Benjamin, it’s my first time. I cannot imagine a better pairing. I mean, I’ve been lucky to work with Anna Netrebko, Rolando Villazón and [unintelligible] and also Stephen Costello over the years. But, I mean, this I think for the Met is the ideal pair.
RYAN SPEEDO GREEN: Maestro, you need to get down to the pit in a moment so we’re going to let you go.
YANNICK NÉZET-SÉGUIN: I hear tuning. (Laughs)
RYAN SPEEDO GREEN: Thank you so much for joining us today.
YANNICK NÉZET-SÉGUIN: Thank you, Speedo.
RYAN SPEEDO GREEN: Bart, what are your impressions of Nadine and Benjamin in the title roles?
BARTLETT SHER: Um, they’re – they’re exquisite, first of all, and they have an – I mean, Benjamin brings this – I’ve done it many times with many different singers but his sense of the French is so elegant, he elevates it so much. I haven’t heard that kind of language in that sort of soaring way before.
Nadine is a dear friend and she just brings such, like, gorgeous, like, passion and – and love to the piece, and – and intelligence. And the thing is Juliette’s kind of a genius of a character, she’s so smart and so wickedly ahead of everybody.
RYAN SPEEDO GREEN: Yeah.
BARTLETT SHER: And that’s Nadine.
RYAN SPEEDO GREEN: Except at the end. (Laughs)
BARTLETT SHER: Yeah – well, they’re rash.
RYAN SPEEDO GREEN: Yeah.
BARTLETT SHER: They’re feeling a lot. They’re going quickly.
RYAN SPEEDO GREEN: Bart, bravo for this brilliant production. And thank you for joining us today.
BARTLETT SHER: Thank you very much.
RYAN SPEEDO GREEN: It’s an honor.
BARTLETT SHER: Thanks.
READ: Throw to Part 2
RYAN SPEEDO GREEN: Even though the first act ended in marital bliss, it’s not a spoiler to say that the final story of Roméo et Juliette will not end happily. We all know that. The hatred of the Montagues for the Capulets and the Capulets for the Montagues is just too much for Roméo and Juliette to bear. But the power and the passion of their love will never die. Here is Part Two of Roméo et Juliette.