Archive

Western Pennsylvania's trusted news source
Review: Riveting lead boosts Pittsburgh Opera's slow-paced'Carmen' | TribLIVE.com
Theater & Arts

Review: Riveting lead boosts Pittsburgh Opera's slow-paced'Carmen'

Mark Kanny
ptrLIVrevcarmen032315
David Bachman Photography
Carmen (Rinat Shaham) dances on the table at Lillas Pastia's tavern in Pittsburgh Opera's 'Carmen'

Slow pacing kept Pittsburgh Opera's current presentation of “Carmen” from taking flight, despite a generally excellent cast on March 24 at the Benedum Center, Downtown.

The prelude to the opera began with plenty of vigor, but conductor Antony Walker gave a hint of what was to come by slowing down for the toreador's big tune. The second part of the prelude with its fate motif was well paced. Here, director Marc Astafan made his presence felt before the curtain normally rises by placing Carmen in a spotlight with a blood-red backdrop.

The opera opens outside a cigarette factory in Seville, Spain. The staging was sleepy, as were Walker's tempi. Alex DeSocio was excellent as a corporal among the troops waiting outside the factory.

One might have thought the entrance of Carmen would bring a livelier flow, but it didn't. Although her two big solos in this act, the Habanera and the Seguidilla, were relatively slow, mezzo-soprano Rinat Shaham was a riveting presence. Her voice has brightness, depth and allure. And the way she opened up her lower register in the last act was stunning.

Tenor AJ Glueckert, making his company debut, was initially appealing as Don Jose, another corporal. His duet with Micaela, who's brought a letter from his mother, is one of the most enchanting parts of the opera. Glueckert and soprano Jasmine Mohammed each sang beautifully and were especially impressive singing together.

There were cuts to the score in all four acts, including in this duo. In addition, the Entr'acte before Act III was played at the end of that act to create time for the set change for the final act, which followed without intermission.

Walker's most successful moments in the first act grew out of a fight between Carmen and another cigarette girl. It felt and sounded like a riot. After Carmen is ordered to prison by Lt. Zuniga, she induces Don Jose to help her escape.

The second act takes place in a tavern, where Carmen, her friends and soldiers enjoy the hospitality of Lillas Pastia, a speaking role nicely handled by Peter Kope of Attack Theatre. Baritone Morgan Smith made a splashy entrance as the toreador Escamillo, but his voice was muffled until he reached his big tune.

The Quintet in the second act is one of composer Georges Bizet's most brilliant creations and was well-sung by Corrie Stallings, Adelaide Boedecker, Shaham, Adam Bonanni and Dimitrie Lazich. But Walker's tempo was slow enough to rob the music of much of its magic.

Glueckert was no match for Shaham when they quarrel over Don Jose's decision to return to barracks. Phillip Gay was outstanding as Zuniga, showing growth both vocally and dramatically.

The affair between Carmen and Don Jose is over in the third act, set in the mountains amid Carmen's smuggler friends. Escamillo is Carmen's love interest now. The fortune-telling cards trio was well characterized.

The final act takes place outside Seville's bullfighting arena, with Don Jose lurking as Carmen waits for Escamillo. Carmen is ready for her fate, unwilling to compromise her independence to be with whom she pleases. Shaham's singing carries this act. The staging calls on Glueckert to overdo Don Jose's weaknesses, and to strangle Carmen rather than stab her. The director has Don Jose stab the wrong character, Zuniga. He also places Micaela on stage to watch the tragic culmination.

The orchestra played extremely well, benefitting from Walker's careful attention to balances and ensemble.

Tempi can change from night to night, but even on this night, the strengths of Shaham, the opera's resident artists and the adult and children's choruses were memorable.

Pittsburgh Opera's production of “Carmen” will be repeated at 7:30 p.m. March 27 and 2 p.m. March 29 at the Benedum Center, Downtown. Admission: $12.75 to $195.75. Details: 412-456-6666 or pittsburghopera.org

Mark Kanny is classical music critic for Trib Total Media. He can be reached at 412-320-7877 or mkanny@tribweb.com.