| Roméo et Juliette | |
|---|---|
| choral symphony byHector Berlioz | |
 Handbill advertising the first performance | |
| Catalogue | H. 79 |
| Opus | 17 |
| Text | byÉmile Deschamps |
| Language | French |
| Based on | Shakespeare'sRomeo and Juliet |
| Performed | 24 November 1839 (1839-11-24) |
| Movements | seven, in three parts |
| Scoring |
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Roméo et Juliette is a seven-movementsymphonie dramatique for orchestra and three choruses, with vocal solos, by FrenchcomposerHector Berlioz.Émile Deschamps wrote itslibretto withShakespeare's play as his base. The work was completed in 1839 and first performed on 24 November of that year, but it was modified before its first publication, in 1847, and modified again for the2ème Édition of 1857, today's reference. It bears the catalogue numbersOp. 17 andH. 79. Regarded as one of Berlioz's finest achievements,Roméo et Juliette is also among his most original in form[1] and his most comprehensive and detailed to follow aprogram.[2] The vocal forces are used in the 1st, 5th and 7th movements.
Initial inspiration came from a performance he witnessed in 1827 ofRomeo and Juliet (inDavid Garrick's edited version) at theOdéon Theatre in Paris. The cast included his future wifeHarriet Smithson, who also inspired Berlioz'sSymphonie fantastique. In hisMemoirs, Berlioz describes the electrifying effect of the drama:
... to steep myself in the fiery sun and balmy nights of Italy, to witness the drama of that passion swift as thought, burning as lava, radiantly pure as an angel's glance, imperious, irresistible, the raging vendettas, the desperate kisses, the frantic strife of love and death, was more than I could bear. By the third act, scarcely able to breathe—it was as though an iron hand had gripped me by the heart—I knew that I was lost. I may add that at the time I did not know a word of English; I could only glimpse Shakespeare darkly through the mists of Letourneur's translation; the splendour of the poetry which gives a whole new glowing dimension to his glorious works was lost on me. ... But the power of the acting, especially that of Juliet herself, the rapid flow of the scenes, the play of expression and voice and gesture, told me more and gave me a far richer awareness of the ideas and passions of the original than the words of my pale and garbled translation could do.[3]
The range of feeling and mood as well as poetic and formal invention which Berlioz found in Shakespeare[4] had a strong influence on his music, making a direct musical setting of Shakespeare's work only natural. In fact, he had been planning a musical realisation ofRomeo and Juliet for a long time before 1838, but other projects intervened.[5] Emile Deschamps (thelibrettist of the work) says that he and Berlioz worked out a plan for the symphony shortly after the Odéon's 1827/28 season. Indeed, it may be the case thatRoméo et Juliette's genesis is intertwined with other works composed before the composer left for hisPrix de Rome sojourn of 1830 to 1832.Sardanapale, the cantata with which Berlioz finally won the Prix de Rome in 1830, puts the melodic material of both theRoméo seul ("Romeo alone") portion of the second movement and theGrande fête chez Capulet ("Great banquet at the Capulets").[6]
There is abundant evidence that Berlioz was gradually working out a scheme forRoméo et Juliette during his sojourn in Italy. He reviewed a February 1831 performance inFlorence ofBellini'sI Capuleti e i Montecchi, outlining in passing how he would compose music for theRoméo et Juliette story: it would feature, he says, the sword fight, a concert of love, Mercutio's piquant buffooning, the terrible catastrophe, and the solemn oath of the two rival families. One line of text from the review eventually shows up in the libretto of the symphony.[6]
The eventual composition ofRoméo et Juliette as we know it now was made possible by the generous gift of 20,000francs byNiccolò Paganini; after hearing a performance ofHarold en Italie at theParis Conservatoire on 16 December 1838, the greatvirtuoso had publicly knelt beforeBerlioz and hailed him as the heir ofBeethoven. Paganini died shortly after, and did not read or hear the piece. Berlioz used the money primarily to repay his debts, and afterwards was still left with "a handsome sum of money", which he used to allow himself to put his full focus towards working on "a really important work", unobstructed by his usual time-consuming obligations as acritic.[7] Berlioz finished the score on 8 September 1839.[8]
The work's libretto is not sourced from the original plays, and as a result contains changes from Shakespeare's play, both in the version Berlioz worked from, and subsequent cuts he and his librettist made. Berlioz's composition was heavily influenced by the play he had seen acted byCharles Kemble and Harriet Smithson in 1827, which had been rewritten by the 18th century actorDavid Garrick to have Juliet awaken from her deathlike sleep before Romeo's death from (a much slower acting) poison. Berlioz enlisted the services of author Emile Deschamps to write the libretto. Between them they also left out the character of the nurse and expanded Shakespeare's brief mention of the two families' reconciliation into a substantial vocal finale.[4]
Berlioz developed a special predilection for the symphony over his career, writing in his memoirs that one movement in particular became a favorite: "If you now ask me which of my pieces I prefer, my answer will be that I share the view of most artists: I prefer the adagio (the Love Scene) inRomeo and Juliet."[9]
From composition until the first performance,Berlioz's time was occupied with physical arrangements for the premiere: parts were copied, chorus partslithographed, and rehearsals got underway. Thebass-baritone,Adolphe-Louis Alizard (Friar Lawrence), and theProloguechorus, all of whom came from theParis Opéra, were prepared during the intermissions of performances there.[6] There was much anticipation in Paris prior to the first performance. In the rehearsals, Berlioz pioneered the practice of orchestral sectionals, rehearsing the different sections of the orchestra separately to better prepare them for the challenging piece. This was followed by two full orchestra rehearsals to polish up the details.[6]
It was first performed in three concerts conducted by Berlioz at theParis Conservatoire with an orchestra of 100 instruments and 101 voices[10] on 24 November, 1 December and 15 December 1839, before capacity audiences that comprised much of the Parisianintelligentsia. One notable audience member wasRichard Wagner, who would later note the influence of the symphony on his operaTristan und Isolde.[5] Reactions to the piece were quite varied, as could be expected for a radical work. However, it was widely acknowledged that Berlioz had scored a major triumph in these first performances; a "tour de force such as only my system of sectional rehearsals could have achieved".[4] Berlioz comments: "The work as it was then [in 1839] was performed three times at the Conservatoire under my direction and, each time, appeared to be a genuine success. But I felt at once that much would have to be changed, and I went over it carefully and critically from every point of view."[11] He continued to revise the work, a few instances upon the suggestions of critics, but generally by his own judgement.
A premiere of a later revision (including cuts and changes to thePrologue,Queen Mab Scherzo, and theFinale) was held inVienna on 2 January 1846, the first performance since 1839 and the first abroad. After hearing a complete performance in Vienna on 26 January 1846, Berlioz took the opportunity to make major revisions before a performance scheduled for the following April inPrague. He accepted advice from several confidants and advisers, rewriting thecoda of theQueen Mab Scherzo, shortening Friar Laurence's narrative at the end, deleting a lengthy secondPrologue at the beginning of the second half, and introducing musical foreshadowing in the first prologue.[6] The full score was not published until 1847.[12]
Reflecting on the first performances, Berlioz commented in his memoirs:
The work is enormously difficult to perform. It poses problems of every kind, problems inherent in the form and in the style and only to be solved by long and patient rehearsal, impeccably directed. To be well done, it needs first-rate performers—players, singers, conductor—intent on preparing it with as much care as a new opera is prepared in a good opera house, in fact almost as if it were to be performed by heart.[13]
Thescore calls for:
Structurally and musically,Roméo et Juliette is most indebted toBeethoven's9th symphony – not just due to the use of soloists andchoir, but in factors such as the weight of the vocal contribution being in the finale, and also in aspects of the orchestration such as the theme of thetrombone recitative at theIntroduction.[4] The roles of Roméo and Juliette are represented by theorchestra, and the narrative aspects by the voices.Berlioz's reasoning follows:
If, in the famous garden and cemetery scenes, the dialogue of the two lovers, Juliet'sasides, and Romeo's passionate outbursts are not sung, if the duets of love and despair are given to the orchestra, the reasons for this are numerous and easy to understand. First, and this reason alone would be sufficient, it is a symphony and not an opera. Second, since duets of this nature have been treated vocally a thousand times by the greatest masters, it was wise as well as unusual to attempt another means of expression.[14]
The vocal forces are used sparingly throughout, until they are fully deployed in the finale.[4] The exceptional virtuosity deployed in the orchestral writing seems particularly appropriate for the dedicatee of the work, Paganini himself, who was never able to hear it, much to Berlioz's regret.[12] Further examples of Berlioz's inventiveness are shown in the use of thematic links throughout the piece, somewhat laying the ground for the Wagnerianleitmotif, for example the last solo notes of theoboe which follow Juliet's suicide echo a phrase from the earlier funeral procession when she was thought to be dead.[4] Berlioz signed and dated his autograph on 8 September 1839.[6] The final score was dedicated to Paganini.[15]
The stylistic links of the work with Beethoven before (andWagner after) could not be stronger. From Beethoven, Berlioz learned the very notion of programmatic music. He saw in thePastoral symphony how music might be depictive without being naïve, in the symphonicscherzi how the delicateQueen Mab might best be evoked, and in the9th symphony how effective a choral finale could be. He sensed Beethoven's flexibility with regard to number of movements and the performing force.[6]
FromRoméo et JulietteWagner absorbed much about the ideals of dramatic music and the work can be considered a major influence onTristan und Isolde. When Wagner first heard the work in 1839 he said it made him feel like a schoolboy atBerlioz's side.Roméo et Juliette was also the work of Berlioz's that Wagner knew best. Indeed, their second and last meeting was on the occasion of a performance of the work in London in 1855. Wagner learned something of melodic flexibility and perhaps even a mastery of the orchestral force from Berlioz.[6] Moreover, in 1860, he sent Berlioz the published full score ofTristan und Isolde inscribed merely:
Beyond the influence on Wagner's music drama, the piece pushed the limits of the contemporary orchestra's capabilities, in terms of colour,programmatic scope and individual virtuosity. While this applies to much of Berlioz's music, it is even more true forRoméo et Juliette, written at the height of his powers and ambition. Its vivid scene-setting surpasses manyoperas, which constitutes an enormous success on Berlioz's part.Franz Liszt also recognised the significance of Berlioz as a progressive composer, and championed his music.
Part I
Part II
Part III
Notes
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