| Opéra national de Paris | ||
| Carlo Rizzi | Musikalische Leitung | |
| Thomas Jolly | Regie | |
| Bruno de Lavenère | Bühnenbild | |
| Sylvette Dequest | Kostüme | |
| Antoine Travert | Licht | |
| Orchestre de l'Opéra national de Paris | ||
| Chœurs de l'Opéra national de Paris | ||
| Magdaléna Calloc'h | Kostüme | Assistant |
| Josépha Madoki | Choreographie | |
| Ema Yuasa | Choreographie | Assistant |
| Ran Arthur Braun | Bühnenkampf | |
| Elsa Dreisig | Sopran | Juliette |
| Benjamin Bernheim | Tenor | Roméo |
| Lea Desandre | Mezzosopran | Stéphano |
| Jean Teitgen | Bass | Frère Laurent |
| Laurent Naouri | Bariton | Capulet |
| Maciej Kwaśnikowski | Tenor | Tybalt |
| Sylvie Brunet-Grupposo | Mezzosopran | Gertrude, Juliettes Amme |
| Jérôme Boutillier | Bariton | Herzog von Verona |
| Sergio Villegas Galvain | Bariton | Paris |
| Thomas Ricart | Tenor | Benvolio, Montaigus Neffe |
| Yiorgos Ioannou | Bariton | Grégorio |
| Huw Montague Rendall | Bariton | Mercutio |
| Song Hee Lee | Sopran | Manuela |
How many composers have been inspired by the two lovers from Verona depicted by Shakespeare? From Vincenzo Bellini and Hector Berlioz to Leonard Bernstein, the list is long. If Charles Gounod’s Roméo et Juliette, first performed during the Universal Exhibition of 1867, enjoyed immediate popularity it is doubtless because this is the version that translates the tumultuous lives of the celebrated lovers with the greatest finesse.
Four love duets, a fiery waltz and luminous, lyrical music: the entire score seems to tremble with desire and freshness. Who better than Thomas Jolly, one of the most inventive directors of his generation, reputed for his audacious re‑readings of Shakespeare, to celebrate this hymn to youth? Following his Eliogabalo by Cavalli in 2016, he signs his second collaboration with the Paris Opera.
Rezensionen von Roméo et Juliette inszeniert von Thomas Jolly
