Easily the most popular and often-performed opera of all times, Carmen is a hit-parade of recognizable tunes, with vibrant characters and a titillating story of love and jealousy. Carmen is a fiercely independent, free-spirited and beguiling Romani woman with many admirers. She takes Don José as her lover, and demands that the corporal defect from the army to join her in a carefree life of smuggling. Alas, Carmen soon grows tired of him. Taunted by her constant flirtations with other men and enraged by her new affection for the dashing bullfighter Escamillo, Don José demands Carmen to pledge herself to him. When she rejects him and makes it clear she no longer loves him, he stabs her to death.
What you missed
Directed by Joel Ivany, this COC production is a carbon-copy of the last two Carmens in 2016 and 2010– visually identical, using the same sets and costumes. It runs the risk of growing tiresome for audiences with a keen eye and good memory. Thankfully, this revival feels fresh, and is injected with more fire and passion than its predecessors, owing to the stellar cast.
A SCENE FROM CARMEN – 2022
American mezzo and two-time Grammy award winner J’Nai Bridges is a natural Carmen, with an engaging presence and a dark and rich timbre. Her “Habanero” was nuanced and not overtly seductive, as if she intentionally held back only to gradually unfold her true femme fatale nature. This was evidenced by her turning up the heat in her sultry rendition of “Seguidilla.” She does live up to her reputation as the “Beyoncé of opera.” Argentine tenor Marcelo Puente was the perfect counterpart as Carmen’s love interest Don José. Puente’s commanding and luscious tenor voice was complemented by expressive acting. His transformation from a confused man resisting love to being hopelessly smitten and eventually dangerously obsessed with Carmen was utterly convincing. The two leads delivered a gripping yet intimate final scene in which Don José was consumed with desire and desperation, and driven mad by Carmen’s defiance to be born free and die free. With Carmen’s final declaration of her love for another man, he stabs her, and what ensued was one of the most believable death scenes ever staged.
Marcelo Puente as Don José and J’Nai Bridges as Carmen in the Canadian Opera Company’s production of Carmen, 2022. Photo: Michael Cooper
Lebanese-Canadian soprano Joyce El-Khoury was a sweet and mellower-voiced Micaëla. Her “C’est des contrebandiers le refuge ordinaire” in Act III was genuinely moving. It was a pity that the lack of focused lighting on her made her presence rather obscure against the already-dark background.
The flamboyant Escamillo, aptly played by American baritone Lucas Meachem, made an Elvis-like grand entrance surrounded by paparazzi in Act II. Meacham is a vocal powerhouse, and although his display of bravado was excessive and borderline silly, it had the desired comical effect and drew roaring laughters with his every appearance. The opening of Act IV was a boisterous affair with Escamillo, along with vendors, picadors, toreros and banderillos parading down the aisles of the theatre while interacting with the audience. This was a truly fun moment that the audiences clearly enjoyed.
The rest of the all-Canadian supporting cast that comprises former and current COC Ensemble Studio members, was a standout: Bass Alain Coulombe as Lieutenant Zuniga, bass-baritone Alex Halliday as Moralès, baritone Jonah Spungin as Le Dancaïre, and tenor Jean-Philippe Lazure as Le Remendado. Soprano Ariana Cossette and mezzo Alex Hetherington both dazzled as Frasquita and Mercédès, respectively, their high notes brilliant and precise.
Photo: Michael Cooper
As always, the COC chorus was superb under the direction of chorus master Sandra Horst. The women with their crisp and angelic sounds especially stole the show during the Act I quarrel scene. It was a delight to see members of the children’s chorus bringing so much life and energy to the stage.
Under conductor Jacques Lacombe’s baton, the COC orchestra played with gusto throughout, with the winds and brass in particular doing a splendid job.
This Carmen is the whole package—well sung and cleverly staged. Good to the last drop, and keeps us yearning for more.
Canadian Opera Company presents Carmen at the Four Seasons Centre for the Performing Arts in Toronto on October 14, 16, 20, 22, 26, 28, 30 and November 4, 2022. www.coc.ca
1 Comment
Habanero? Banderillo? Close, but no cigarrillo. The words are HABANERA and BANDERILLERO.