Werther, Royal Opera House

Johann Wolfgang von Goethe’s Sorrows of Young Werther (1774) is among the most significant texts in romantic literature. Written in an epistolary format, it tracks the titular artist’s infatuation with the rural maiden Charlotte. Just one thing stands between them – Charlotte’s betrothal to Albert. As the three become close, threatening Charotte and Albert’s harmonious marriage, Werther decides that the only way to prevent conflict and heartbreak is to forsake life itself.

Jules Massenet’s Werther (1892) was not the first opera based on this story, but it is by far the most popular. Although it was premiered to muted acclaim, after a decade it had become a popular favourite, equal to his earlier Manon. Edouard Blau and Paul Milliet’s libretto does well to translate Goethe’s passionate text to the stage, placing the focus strictly on the central characters rather than their extended environment. Musically, it shows Massenet at his not insigificant peak, homing in on Werther’s grief to astounding effect. There is a graceful restraint on display throughout, which prevents it sinking into melodrama.

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Director Benoit Jacques’ production was, like Werther itself, a late bloomer. In 2004, it was critiqued for vagueness. By its 2011 revival staring Rolando Villazon, it was praised for its intelligence and subtly. Jacques’ staging combines period touches with a sparse minimalism, foregrounding the characters’ internal struggles.

Tenor Vittorio Grigolo (Faust), whose Royal Opera debut came with Manon, will play Werther opposite superstar American mezzo Joyce DiDonato (Maria Stuarda)’s Charlotte. Baritone David Bizic as Albert and Heather Engebreston as Charlotte’s sister Sophie will join them to complete the central cast. Covent Garden music director Antonio Pappano returns to the podium, and should provide a masterful reading of an opera he is indelibly associated with. Werther should be a reliable stalwart of the Royal Opera’s summer season 2016.

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