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 Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Patricia Bardon (Carmen) in Act Two of
13 Oct 2013

Carmen, Yet Again

No matter how or where Carmen is produced, or by whom directed, costumed and performed, its promise of free wheeling sex and exciting rhythmic music, has made it one of the most popular operas in the world.

Carmen, Yet Again

A review by Estelle Gilson

Above: Patricia Bardon (Carmen) in Act Two of "Carmen" with Brandon Jovanovich, in background, as Don Jose. [Photo by Robert Millard]

 

It will be performed more than 500 times this year in 104 cities from Aachen to Zurich with stops before such diverse populations as the residents of Reno and Riga, Mersin and Maribor. Likely comics and schoolkids in Nizhni Novgorod where it will also appear in 20013, sing Russian jingles to the “Toreador Song”

The Los Angeles Opera too, assured itself of success by opening its current (2003-14) season with the work. The company chose to repeat a production created by Emilio Sagi for the Teatro Real of Madrid in 2002, which it had previously performed in 2004 and 2008 to enthusiastic reviews.

I, too, enjoy Carmen’s music, but have yet to see a performance that has persuaded me to love the opera.

Georges Bizet created Carmen in 1875 as a commission for the Opéra-Comique in Paris. Offered several subjects for his new work by the company, Bizet rejected them all. Despite warnings that the tale was too harsh and brutal for the Opéra-Comique’s audience, he insisted on basing his opera on Prosper Mérimée’s novella, Carmen, about a sexually free gypsy smuggler, who is murdered by her lover. Promising to accommodate the Comique’s standards, his librettists, Henri Meilhac and Ludovic Halévy, a duo who specialized in light weight works, tried to clean Carmen up by decriminalizing most of her activities, and by counterbalancing her free loving ways with God fearing Micaëla (who does not appear in the Mérimée work). Unfortunately, they still had Don José kill Carmen in a jealous rage, which did not sit well with the local folks. Bizet died at age 36 thinking the work a failure.

Gypsies were hot theatrical box office in the 19th century in large part in response to an 1827 poem by Alexander Pushkin, titled The Gypsies, which is said to have been based on the poet’s torrid, but brief experience living in a gypsy camp. They also found their way into opera. Sergei Rachmaninoff ‘s opera Aleko is based directly on the poem. Mérimée’s tale too, owes much to the Pushkin. Verdi’s gypsies, Azucena (Il Trovatore) Preziosilla(La Forza del destino) and Ulrica ( Masked Ball) are far less glamorous than Carmen, but Victor Hugo’s young and beautiful Esmeralda (The Hunchback of Notre Dame) also became an opera heroine in La Esmeralda, an opera by Louise Bertin, for which Hugo, himself, wrote the libretto.

Sagi’s production features large, full stage sets. The first act set and costumes particularly, created an unengaged, unrealistic mood. Cigarette girls in gauzy pale costumes and the solders in elegant white cutaway coats, did nothing to whet the appetite for passion. Micaëla, in long, heavy garments and daintily heeled shoes, could never have gotten through mountain passes in her search for Don José.

Though Carmen is an opera whose plot purports to turn on love, it is a work essentially devoid of love - and of the music of love. Every word that Carmen speaks, every phrase she sings to José - even as he recalls the cherished flower she gave him, is nasty and taunting. Did she ever love him? Or did she seduce him only to escape prison? She does make one declaration of love in the opera. It is a brief, unimpassioned repetition of the love melody Escamillo sings to her in the last act. Is she in love now? The music isn’t convincing. And isn’t he the one who bought her that snazzy red dress? I find only two emotionally engaging moments in the opera. Carmen’s card song, predicting her death, and José’s “Flower Song”. And yes, add his outbursts of anger in the last scene. Micaëla does not sing of love. Nothing that Micaëla’s says or sings makes her believable. No music Bizet composed, no words Meilhac or Halévy wrote, no shading any sopranos have brought to these two roles, has led me to respond to these women as other than stock characters.

Patricia Bardon was a mildly sexy Carmen. Though her dark mezzo soprano suited the musical range of the character, her dancing (mostly skirt swishing) was far from seductive. Her second act dance (Carmen’s reward to José for returning to her after his imprisonment), performed without castanets (the clacking came from the orchestra) was pallid. Tenor Brandon Jovanovich, who sang Don José, is a singer who moves easily from Puccini to Wagner. His lyricism stood him in good stead in the “Flower Song” - his power and dramatic capacity highlighted the last scene. Bass baritone, Ildebrando D’Arcangelo, usually a commanding presence in any cast, seemed somewhat lack luster as Escamillo. But then, the Toreador’s entrances and exits, which are generally staged as brilliant, almost pompous affairs, were undramatic. The sound of Escamillo’s voice singing the “Toreador Song” before his third act appearance evoked audience laughter, as did his invitation to Don José to fight with him, reflecting a problem in stage direction. Soprano Pretty Yende, debuting with the company, was a charming, lyrical Micaëla. Though the libretto implies that Micaëla, an orphan, and Don José, were brought up almost as sister and brother, there was a strange lack of familiarity between them, to say nothing of love. Hae Ji Chang as Frasquita, and Cassandra Zoé Velasco as Mercédès performed a delightful and well sung duet. Keith Jameson and Museop Kim were convincing as El Remendado and El Dancaïre.

Conductor ‎Plácido Domingo offered a whiplashed overture, and a performance that emphasized rhythm over lyricism. The Los Angeles Children’s chorus acquitted themselves well, and except for a moment at its third act entrance, so did the Los Angeles Chorus.

The colorful costumes and fiery choreography created by Nuria Castejón encapsulated the sexiness and tension lacking elsewhere.

Perhaps some day, with a passionate advocate in the pit, producers, directors, and actor/singers committed to make its possessed character’s motives emotionally meaningful, I will see a performance of Carmen I, too, can love. But I fear the opera’s faults lie with Messieurs Meilhac, Halévy and Bizet, so I’m not very optimistic.

Estelle Gilson


Cast and production information:

Carmen:Patricia Bardon; Don José:Brandon Jovanovich; Micaëla:Pretty Yende; Escamillo: Ildebrando D’Arcangelo; Zuniga:Valentin Anikin; Moralès:Daniel Armstrong; Frasquita: Hae Ji Chang; Mercédès: Cassandra Zoé Velasco; El Remendado: Keith Jameson; Dancaïre:Museop Kim. Conductor: Plácido Domingo. Original Production: Emilio Sagi. Director: Trevore Ross. Set Designer: Gerardo Trotti. Costume Designer: Jesús del Pozo. Lighting Designer: Guido Levi. Original Choreographer: Nuria Castejón.

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):