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

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

OPERA TODAY ARCHIVES »

Performances

Peabody Southwell as Carmen [Photo by Karli Cadel]
14 Mar 2017

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).

La Tragédie de Carmen at San Diego Opera

A review by Maria Nockin

Above: Peabody Southwell as Carmen

Photos by Karli Cadel

 

In 1983 Stage Director Peter Brook, in collaboration with writer Jean-Claude Carrière and composer Marius Constant, pared down the French grand opera to its bare essentials and presented La Tragédie de Carmen, a ninety-minute version of the story.

Rather then enumerate all the characters and musical numbers omitted, I will simply list the main characters and mention much of the music we heard at the Balboa Theatre on Friday evening. The characters were Carmen, Don José, Zuniga, Micaela, Escamillo, Garcia, and Lillas Pastia. If you are wondering who Garcia is, he is Carmen’s husband. He is mentioned in the Proper Merimée’s original book but not in the opera. Brook’s Carmen was no longer a glamorous gypsy and she had lost her factory job. However, she still managed to divert José’s attention from Micaela even though the latter sang with lustrous tones. The country girl put up a fight, however, and in this version of the story she had more spunk than in the grand opera.

KarliCadel-SDOpera-TragedyCarmen-3876.pngAdrian Kramer as Don Jose

With no chorus of soldiers in the background and no children imitating them, the focus was on the rivalry and its results. Carmen fascinated José with the "Habanera" but the orchestra had been pared down to a fifteen-member chamber ensemble. Thus, she did not need to have the big operatic voice we normally hear singing over a full orchestra. Peabody Southwell sang Carmen with a sultry sound and played up her intense sexuality. Her "Seguidilla' was delightful, her "Gypsy Song" enchanting, and there were no extra soldiers to harass her.

The memento she gave José, sung by tenor Adrian Kramer, was a red knitted stocking, not a flower. Nevertheless, he held it as he sang a beautifully lyrical "Flower Song." When the story moved to the inn, we met Max Cadillac as Lillas Pastia, an amusing female impersonator and hostess extraordinaire. At one point, Carmen was involved in a threesome with José and Lillas. Then we understood that the soldier’s thoughts had long since left his elderly mother and the village girl who expected to marry him.

Of course with a chamber orchestra and many fewer characters, there were no ensembles in the La Tragédie. Gone were the smugglers and their wonderful quintet. Instead we saw raw emotion, love and hate. Carmen had become theater. A fine actor as well as a singer, Adrian Kramer painted pictures with the colors in his voice. José, his possessive, psychotic character, was as essential to the story as Carmen herself. His tragedy grew out of his own actions, however. If only José had not left his village, he and Micaela might have had a chance at happiness, but after his trip to the big city, he, like many others, would never go back.

KarliCadel-SDOpera-TragedyCarmen-3908.pngAdrian Karmer (Don Jose) and Andriana Chuchman (Micaela)

Bass baritone Ryan Kuster gave a thoroughly pleasing performance of Escamillo with a full orchestra at Arizona Opera not too long ago. In San Diego his vocal range seemed to be a bit restricted, but it may be that some of the Toreador's notes are written lower in La Tragédie. He was a spectacular matador, however, and for a while it seemed as though Carmen belonged on his arm. Unfortunately, the bull killed him early on and his bloody corpse left the ring in an open cart.

Brook’s Carmen is a young girl eager to make money any way she can in the early scenes but she believes in fate and, for that reason, she understands that sooner or later she will meet her destiny. She is younger and much less of a glamor girl than Bizet’s Carmen, but she will intrigue patrons who are more interested in character and conflict than in the spectacle offered by grand opera.

Maria Nockin


Cast and production information:

Conductor, Christopher Rountree; Director, Alexander Gedeon; Scenic and Video Designer, Yuki Izumihara; Costume and Video Designer, Adam Alonso; Lighting Designer, John A. Garofolo; Fight Director, Brian Byrnes; Don José, Adrian Kramer; Carmen, Peabody Southwell; Micaela, Andriana Chuchman; Zuniga/Garcia, Anthony Nikolchev; Lilla Pastia, Max Cadillac; Escamillo, Ryan Kuster.

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):