A Village Romeo and Juliet is an opera by Frederick Delius, first performed at the Komische Oper, Berlin on 21 February1907. The libretto, by the composer himself, is based on the short story Romeo und Juliet auf dem Dorfe by the Swiss author Gottfried Keller. The orchestral interlude between Scenes 5 and 6, "The Walk to the Paradise Garden", is often heard separately in concerts. The New Opera in Oslo, Norway The Teatro alla Scala in Milan, Italy. ... Theodor Albert Frederick Fritz Delius CH (January 29, 1862, – June 10, 1934) was a composer born in Bradford in the West Riding of Yorkshire in the north of England. ... Berlin is the capital city and one of the sixteen states of the Federal Republic of Germany. ... February 21 is the 52nd day of the year in the Gregorian calendar. ... 1907 (MCMVII) was a common year starting on Tuesday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Wednesday of the 13-day-slower Julian calendar). ... A libretto is the complete body of words used in an extended musical work such as an opera, operetta, masque, sacred or secular oratorio and cantata, musical, and ballet. ... Gottfried Keller (July 19, 1819 – July 15, 1890) was a Swiss writer who is best known as the master of the Novelle. ...
Juliet arrives at Friar Laurence’s cell and with the quick arrival of Romeo and the nurse the two are united in marriage.
Juliet is first seen in bare feet getting out of her bath, this is chosen to highlight not only her youth but to underline the artificial and ceremonial nature of her entrance into the world at the ball where all are in pointe shoes.
To Juliet, Romeo is "day in night;" to Romeo, Juliet is the "sun rising from the east." When they soar to love’s ecstasy, each pictures the other as the stars in heaven, shedding such brightness as puts to shame the heavenly bodies themselves.
TAMPA - Romeo and Juliet may be the story that has been adapted the most for the various performing arts.
His Romeo and Juliet was obviously known well by Prokofiev and Bernstein, and it was interesting to hear it last because that made similarities among the three works easy to recognize.
Far from slaking the appetite for orchestral treatments of Romeo and Juliet, juxtaposing these three works on a single program brought to mind the notion of a new generation of composers adding to the tradition.
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