Carmen
Bizet’s CARMEN with its earthy heroine, nonchalant eroticism and violent murder may seem an unlikely choice for the Holidays. But the enduring allure for prima donnas of both the soprano and mezzo persuasion to get down and dirty in the title role and the fact that the score contains more popular tunes than a Broadway jukebox musical, trumps any qualms about its Yuletide suitability.
LA Opera brought back its traditional take on the opera (from the Teatro Real in Madrid) with all new principals in the cast. Making an impressive company debut, Nancy Fabiola Herrera proved physically alluring as well as vocally compelling. Her instrument is rich and lustrous with power to spare. She sang with admirable ease and musicality bringing a welcome glint of humor to role of the fiery gypsy.
Diego Torre stepped in at the last minute to replace German Villar in the role of the tortured Don Jose. Torre’s voice is undeniably powerful and has an interesting baritonal tone but he is, at best, a tentative actor. No doubt the costume department was scrambling to find outfits that would fit the new performer and work within the general costume scheme, but the shapeless sacks he was given didn’t help matters any.
In another house debut, Sabina Cvilak proved a brilliant and engaging Michaela with a shade more spirit than is typical in the role. She charmed more than the soldiers in her first scene and brought depth and soaring conviction to her Third Act aria. Escamillo is generally cast with a baritone rather than the bass Raymond Aceto brought to the role. Aceto managed the top notes with commendable ease but he brought little spark or charisma to the role.
The smaller roles were all well performed with Wayne Tigges as a swaggering Zuniga, Valerie Vinzant and Kendall Gladen as a particularly well-sung Frasquita and Mercedes and Morgan Smith providing a dashing and surprisingly (considering the size of the role) memorable Morales.
Javier Ulacia’s direction was fairly conventional save for the shocking execution of Zungia and Carmen’s active complicity in her death. Neither moment felt organic to the production; almost seeming grafted on from a more cutting-edge interpretation. Conductor Emmanuel Villaume led a swift reading of the score that occasionally left the chorus in the dust.
LA Opera at the Dorothy Chandler Pavilion November 15 – December 14, 200