Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Don Giovanni, Bavarian State Opera

All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.

A dance to life in Munich’s Indes galantes

Can one justly “review” a streamed performance? Probably not. But however different or diminished such a performance, one can—and must—bear witness to such an event when it represents a landmark in the evolution of an art form.

Il barbiere di Siviglia, Glyndebourne Festival Opera at the Proms

For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

OPERA TODAY ARCHIVES »

Reviews

Yonghoon Lee (Don José), Nadia Krasteva (Carmen) [Photo by Monika Rittershaus courtesy of De Nederlandse Opera]
19 Jul 2009

Amsterdam: Old Wine in New Bull Rings

A roster of exciting young artists supported by the Concertgebouw Orchestra in the pit, ensured that Amsterdam’s Carmen worked its usual spell.

Georges Bizet: Carmen

Don José: Yonghoon Lee; Escamillo: Kyle Ketelsen; Le Dancaïre: Roberto Accurso; Le Remendado: Marcel Reijans; Zuniga: Nicolas Testé; Moralès: Igor Gnidii; Carmen: Nadia Krasteva; Micaëla: Genia Kühmeier; Frasquita: Renate Arends: Mercédès: Nora Sourouzian. Musical Direction: Marc Albrecht. Director: Robert Carsen. Set Design: Michael Levine.

Above: Yonghoon Lee (Don José), Nadia Krasteva (Carmen)

All photos by Monika Rittershaus courtesy of De Nederlandse Opera

 

A local favorite in Vienna, Bulgarian mezzo Nadia Krasteva is a rapidly rising star specializing in such roles as Eboli, Ulrica, and Preziosilla (preserved on DVD from Vienna got up in a Dale Evans cowgirl outfit for the “Rat-a-plan”). None of those Verdi ladies is as complex as Carmen, of course, nor do they carry nearly the baggage of audience expectations as does Bizet’s heroine.

Wiggle your hips too much and you are deemed too vulgar, vamp the tenor too much and you are too obvious, do neither and you are too unengaged. There are as many spectators’ opinions on this famous dame as there are fannies in the seats. Miss Krasteva wisely chose a middle road, with a blend of energized, leonine physicality; and a transparent, fatalistic acceptance of her probable demise.

Our mezzo has a fine vocal instrument, with an especially plummy lower range. She also let loose with any number of searing phrases in the upper reaches, and sang with sensitivity and dramatic involvement throughout. Her good sense of line and inexorable build of tension, arguably made the card scene her very finest moment. If she occasionally seemed a little more Italianate than French (Spanish really, but you know what I mean), and if she descended once or twice into ersatz hootchy-kootchy-girl tricks that were not quite derived from the dramatic moment, well, see my paragraph above about ‘damned-if you-do.’ Ms. Krasteva is already a leading proponent of this complicated heroine, and she will only get better as her impersonation matures. Watch for her.

Another wonderful discovery for me was Korean tenor Yonghoon Lee as Don Jose. The boyish Mr. Lee effortlessly looked the dispirited young recruit, which brought into high relief his emotional bond with his mother, and his bedazzlement by Carmen’s sexual allure. Seldom has this seduction seemed so inevitable, or played so well.

His singing was of a very high standard. I don’t know where all that sound comes from out of such a slight frame, but he has ample gold in his full-throated, driving top phrases. Aside from his sizable voice, he has a well-schooled technique, and a well-coached style. There were several astonishingly beautiful uses of voix-mixe, alas, however, not at the end of the Flower Aria (nonetheless, gorgeously sung). Yonghoon acts admirably with his voice and in all vocal moments, he is fully engaged. As he develops, he is sure to loosen up more in his “book scenes” and internalize the dialogue as effectively as he does the vocal line.

carmen_270.gifYonghoon Lee (Don José), Genia Kühmeier (Micaëla), Nadia Krasteva (Carmen)

I am not sure what eluded me about Genia Kühmeier’s perfectly well-sung Micaela, but there seemed to be a warmth missing from her stage presence, and well, the character is the one that should be nothing but sympathetic. Perhaps it was her rather pristine Mozartean tone and delivery? I have seen this role steal the show entirely, and if she didn’t quite manage that, in fairness, the audience gave her polished performance an enthusiastic ovation.

Kyle Ketelsen made every minute of his stage time count with his swaggering, cock-sure traversal of Escamillo. Mr. Ketelsen is one of those performers who has star presence to spare, and happily he has a resonant, highly-responsive bass instrument that can carry out his intentions very impressively indeed. An imaginative actor, he brings insight and variety to even such a well-known set piece as the “Toreador Song.” It is small wonder that his highly-charged persona turns our mezzo from her troubled soldier boy.

Robert Accurso (Dancairo), Marcel Reijans (Remendado), Renate Arends (Frasquita), and Nora Sourouzian (Mercédès) entertained us mightly in a breathless quintet. While all four contributed solid work throughout, Ms. Sourouzian was especially noteworthy. Nicolas Testé’s pleasing baritone made a fine impression as Zuniga.

Conductor Marc Albrecht led the familiar score with obvious affection, attention to detail, and propulsive fire. It was a true luxury to have an orchestra of the Concertgebouw’s caliber in the pit and they played with sensitivity and commitment.

One US company promoted their Carmen with the hype: “Number One on the Opera Hit Parade.” Yes, it is indeed familiar. Overly familiar? Who can say? But on the premise of familiarity breeding contempt, some producers seek to re-interpret it, or to fit it into a concept, rather than fitting the concept into it.

I have long admired stage director Robert Carsen, who is responsible for several of the very best opera productions I have ever seen. I also find him incapable of doing something that is uninteresting. And “interesting” this show is. As the audience enters the Muziektheater to take their seats, so does the “audience” on stage (aka the chorus members) who assemble randomly in semi-circular, tiered seating upstage, the whole of which embraces a sand-covered bull ring front and center. So far so good.

When the Prelude plays, first the male spectators come down to fill the ring and assume mock macho poses (think SNL’s “We’re gonna pump you up”). Then the female chorus joins them and they get all “sexy.” Oops. So far so bad. Suffice it to say that Act One does not ever substantially improve on this amateurish posturing.

carmen_168.gifNora Sourouzian (Mercédès), Renate Arends (Frasquita)

The soldiers sort of come off as soldiers, but the tobacco workers never do. There is nothing to suggest Seville’s architecture or visually underscore the plot points. There is really not much color at all save the grab-bag of Falk Bauer’s variable costumes. Worse, the performers are directed to tromp up, over, and about these chairs like singing mountain goats. If there was a dramatic motivation for marching down rows of chairs, upending them, sitting in them, or hanging around on the fringes of them, it was lost on me.

This rather dispiriting beginning propelled me to the wine bar at intermission, and perhaps the Merlot had exceptional powers because, well, damn if the rest of the evening didn’t work (and not just “after a fashion”). The stadium (Michael Levine, set design) was still there in the background but a single long row of fluorescent lights was flown in that created a suitably defined playing space for the inn. Indeed, the lighting (design by Carsen and Peter van Praet) that had been blunt and competent in One, began to play a more important role in creating atmosphere and isolating dramatic beats.

The back-lighting of Act Three’s mountain pass (that stadium again with seats scattered and irregular) was downright dramatically galvanizing. By the time we came back to the bull ring in Four, with its every seat now filled by hundreds of extras, it was like we were at whole different quality show. I worried that the final Jose-Carmen encounter might not play in the “ring” but it positively crackled, with the two of them alone in the light and the rest in blackness. And when the chorus suddenly rose in blazing down-light to sing their first interjection, the moment was chills-inducing.

Perhaps all of this would not have worked so well had it not been set up by the foolishness and vagaries of Act One. Perhaps. But to all directors of “familiar” works I say: there is always someone in the audience to whom the work is new. Always. Without having read the synopsis, could a neophyte have begun to understand the first act of this Carmen?

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):