Romeo and Juliet (complete) Cover Image

Romeo and Juliet (complete): Serious Opera, Orchestra Accompaniment, Score and Parts (EDWIN F KALMUS)

$750.00 USD
$750.00 USD
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Romeo and Juliet (complete) Cover Image
Romeo and Juliet (complete): Serious Opera, Orchestra Accompaniment, Score and Parts (EDWIN F KALMUS)

Romeo and Juliet (complete): Serious Opera, Orchestra Accompaniment, Score and Parts (EDWIN F KALMUS)

By Charles Gounod, Libretto by Jules Barbier and Michael Carré

Item: 36-A302902
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Description
Charles Gounod (1818-1893) completed the five-act opera Roméo et Juliette (Romeo and Juliet) in 1867. With a libretto by Jules Barbier and Michael Carré, the opera tells the tragic story of Shakespeare's play with little deviation. The work is well-known for the series of four duets sung by the main characters and the waltz song Ah! Je veux vivre as sung by the soprano lead. It premiered on April 27, 1867 at the Théâtre Lyrique in Paris, Adolphe Deloffre conducting. Instrumentation: 2(2nd dPicc).2(2nd dEH).2.2: 4.2(both dCrnt).3.0: Timp.Perc(2-4): Hp(2).Org: Str (4-4-3-3-3 in set): Vocal Soli (13 roles: SAATTTBBBBBBB): Chorus. Reprint edition.

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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
UPC: 676737813512
SKU: 36-A302902
Instrumentation: 2(2nd dPicc).2(2nd dEH).2.2: 4.2(both dCrnt).3.0: Timp.Perc(2-4): Hp(2).Org: Str (4-4-3-3-3 in set): Vocal Soli (13 roles: SAATTTBBBBBBB): Chorus

More about this title

About the Composer: Charles Gounod

Charles Gounod (1818, 1893) stands as one of the nineteenth century's most commercially successful opera composers, yet his legacy remains tied almost entirely to Romeo and Juliet. A Prix de Rome winner and chapel master at the Parisian church of Saint-Sulpice for many years, Gounod moved between sacred and theatrical music with equal facility, composing symphonies, masses, and songs alongside his operatic work. His gift lay in crafting memorable melodies and orchestral textures that made complex dramatic narratives accessible to broad audiences without sacrificing musical substance.

Gounod understood the soprano voice as a vehicle for lyrical display; his writing for the female lead in Romeo and Juliet demonstrates this principle at its finest. The opera's popularity in concert and staged settings reflects not only the durability of Shakespeare's plot but also Gounod's instinct for writing music that singers and orchestras want to perform repeatedly.

Why we love this

Most opera productions tackle this work with cuts and modifications, but having the complete five-act score invites directors to discover the architecture Gounod built around Shakespeare's narrative. The role distribution spans thirteen solo parts with distinct character voices, making this an exceptional vehicle for ensemble casting and for identifying voices that might otherwise remain undiscovered in your program.

What to expect

Gounod's orchestration wraps the tragedy in warmth and lyricism; even the darkest moments have melodic grace. The work balances intimate character moments with grand ensemble spectacle, moving between salon-like tenderness and full-throated dramatic declaration.

Who it's for

Opera programs, university music departments, and orchestras looking to present a complete grand opera with flexible casting needs. This score works equally well for concert performance or staged production, accommodating ensembles from community opera companies to professional orchestras.

How to get the most out of it

  • Balance the two harps and organ in the accompaniment carefully; they should reinforce harmonic color rather than compete with orchestral texture.
  • The four principal duets between Romeo and Juliet require rehearsal time separate from full orchestra sessions so singers can establish vocal blend and dramatic pacing before adding orchestral density.
  • Conduct the waltz song Ah! Je veux vivre with flexible phrasing despite its regular meter; allow the soprano room to ornament the line without rushing the accompaniment.
  • Allocate extra rehearsal to the choir parts in the ensemble scenes, particularly the garden and feast sequences where choral lines interact with solo voices.

How to use it

Position this as a centerpiece for a spring opera festival or year-end gala where staging resources are available. It also serves as an exceptional concert offering; many sections work beautifully in excerpted form for symphonic programs if a full five-act production feels unwieldy for your ensemble.

Skills your students will build

  • Reading dramatic vocal lines across soprano, alto, and tenor ranges simultaneously
  • Balancing pit instrumentation with choral and solo vocal projection
  • Interpreting nineteenth-century French opera convention and orchestration technique
  • Managing extended rehearsal schedules for ensemble-based dramatic works
  • Conducting flexible tempos while maintaining ensemble unity across soloists and orchestra

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