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Leaner, meaner and tighter « parterre field


COVID-19 rearranged a variety of lives, squashed some desires and made us all reassess our scenario and decisions.  Within the arts, many plans fell aside however fortunately a few of these plans have been revived, rescheduled and eventually got here to fruition.  The MasterVoices opéra-comique Carmen was initially scheduled for April 2020 however destiny intervened.

On Tuesday evening October 25, Bizet’s heroine returned in a brand new guise.  The unique quartet of stars Peabody Southwell, Noah Stewart, Nicole Cabell and Steven LaBrie—at present of Il Divo—had been changed by Ginger Costa-Jackson, Terrence Chin-Loy, Mikaela Bennett and John BrancyCarmen returned final evening and ultimately triumphed.

Why did Ted Sperling and MasterVoices select to carry out an previous warhorse like Carmen which has been produced virtually repeatedly over a long time simply up the road at Lincoln Heart?  The most important cause is that the Carmen we see on the Metropolitan Opera is a grand opera model with sung recitatives by Ernest Guiraud that premiered in Vienna after the composer’s tragically early demise.

Carmen, as everyone knows, was initially an opéra-comique with spoken dialogue carried out within the language of the viewers.  I spoke in my parterre evaluation of Cherubini’s Medée/Medea of the issues of projecting spoken dialogue with worldwide singers in enormous auditoriums and the practicability of sung recitatives.  However as is the case with Cherubini’s Medea, it takes longer to sing one thing than to talk it and the recitatives crush the opera musically and stretch it out in efficiency size.

The opéra-comique Carmen is leaner, meaner and tighter than the grand opera Vienna model offering smoother, extra convincing transitions into the large musical set items.  Sperling opted to make use of the Sheldon Harnick English translation to convey the work nearer to the viewers within the extra intimate environment of the Rose Theater at Jazz at Lincoln Heart.  Considered edits had been made in each rating and dialogue.

A really fundamental however efficient staging was offered by Sammi Cannold with Maestro Sperling and the Orchestra of St. Luke’s positioned upstage and the singers performing downstage with a small platform and wood blocks offering the one surroundings.  The costumes had been generic fashionable gown.

I didn’t see any displays within the auditorium so possible the singers couldn’t see the conductor.  I heard no issues with ensemble or missed cues.  Sperling’s tempos had been sensibly chosen and he saved the proceedings brisk and energetic.  The Orchestra of St. Luke’s had been, as traditional, versatile, skilled and targeted.

Choreography by Gustavo Zajac crammed in a few of the staging lacunae with dance and mime carried out by Camila Cardona and flamenco dancers Laura Peralta and the putting Isaac Tovar.  Cardona incarnated a masked “Destiny” determine in black bodysuit with bull horns (an idea maybe derived from Alberto Alonso’s Carmen ballet carried out by Maya Plisetskaya on the Bolshoi Ballet 5 a long time in the past.)

Tovar’s intense stage presence and percussive footwork added immensely to the proceedings.  The MasterVoices refrain was lower all the way down to solely about 20 singers till the finale the place they inhabited the tiered bins above the stage.  There was no youngsters’s refrain so the urchins in Act I had been lower—and never missed.

The Harnick translation was initially commissioned by the Houston Grand Opera in 1981 and used for the English-language performances of Peter Brook’s La tragédie de Carmen in 1984. Heard for the primary time full on this efficiency, it’s a really singable and trustworthy translation that too usually sounds mundane and explanatory.

Each character speaks in the identical prosaic method regardless of variations in intercourse, tradition, background and social standing.  The textual content is far more evocative en français.  I had little or no bother with textual comprehension and the sung diction was usually clear.

The final time I noticed the opéra-comique Carmen it was at Glimmerglass in 2011 within the authentic French.  A really younger Ginger Costa-Jackson sang the title position for the primary time graduating from Mercedes in the identical opera and plenty of Lolas in Cavalleria Rusticana on the Met.  Since then Costa-Jackson has moved from Met comprimaria to worldwide soloist and has taken her Carmen to Seattle, San Francisco, Kansas Metropolis, Michigan but additionally Tokyo, Liège and subsequent yr London on the English Nationwide Opera.

Her Carmen is attractive and lissome but additionally fiercely unbiased and guarded with a watchful, poised to assault physicality like a avenue cat.  Carmen makes her personal choices and won’t bow to any man’s will even when it means her demise.  Intercourse is her energy used to manage males and profit herself.  What’s love received to do with it?

Fatalism additionally featured strongly in Costa-Jackson’s interpretation with a really highly effective rendition of the Card Tune which exploited the robust alto decrease register of her voice.  This Carmen is bluntly sincere but additionally selfish—different folks’s wants don’t have an effect on her wants, wishes and plans.  It’s all on her phrases and nobody else’s.  Does this make Carmen a foul particular person?  Or simply ferociously herself and fuck everybody else?  One can see how this legislation unto herself outsider can drive an insecure macho male like Don José over the sting.

Early in Costa-Jackson’s profession, I used to be bothered by intermittent pitch issues in her mezzo-soprano, significantly across the register breaks.  She has sorted out that downside properly with seamlessly built-in center and decrease registers and a strong soprano high that appears to emanate from a unique voice.  The timbre is darkish however cool and sinewy missing velvety heat and roundness.  It really works for her conception of the position.

Newcomer Terrence Chin-Loy was a sympathetic, good-looking Don José giving the sense that inexperience and insecurity has gotten this soldier in over his head.  His tenor is a juicy full lyric with a soft-grained timbre.  His center register is plangent and sweet-toned with beautiful gentle excessive notes.  In louder forte excessive register passages, his tone straightens and turned shallow however he has stamina and musicianship.  His tender “Flower Tune” was one of many night’s highlights.

He isn’t as skilled or pure an actor as Costa-Jackson however initiatives sincerity and emotional dedication.  It additionally doesn’t damage that he has an athletic physique and good stage face.  Chin-Loy debuted final season on the Metropolitan Opera in a small position in Fireplace Shut Up in My Bones.  If he manages to consolidate and strengthen his higher register and retains away from too heavy repertoire, he undoubtedly has an excellent profession forward of him.

Juilliard-trained lyric soprano Mikaela Bennett has illuminated many musical theater live shows domestically together with her beautiful lush voice.  She additionally has carried out Maria in West Facet Story on the Lyric Opera of Chicago.  This was her first efficiency of a full operatic position on native levels.

Bennett has the benefit of musical theater coaching in delivering spoken dialogue naturally and a relaxed stage presence with clean transitions between speech and track.  Her lush soprano charmed within the nostalgic Act I duet between Micaela and Don José. 

Nonetheless, I felt that Micaela’s huge aria in Act III stretched her assets the place, regardless of a sympathetic timbre, her tone stretched skinny and sounded pressed within the huge excessive climaxes.  Bennett appeared to make use of all her breath struggling to fill out the vocal line.  In any other case, she made a wholly beautiful impression however is perhaps smart to stay to basic musical theater legit soprano rep.

New Jersey-born baritone John Brancy was a suave lyric baritone Escamillo working his toreador cape with panache.  As traditional, the Toréador Tune, although adroit, didn’t convey out his finest efforts.  The tessitura lurches from low to excessive and I discover {that a} excessive bass or bass-baritone fares higher in that music.  The remainder of the position sounded wealthy and clean and Brancy pointed the textual content knowingly as Escamillo emerges as a possible rival ready within the wings.

Within the smaller roles, I used to be impressed by Michael Kelly as each Dancairo and Moralès and William Ferguson as Remendado.  Bass Leo Radosavljevic, burly of voice and body, made an efficient bully of Zuniga that one was glad to see taken down in Act II.  The Frasquita dithered ditzily and the Mercedes gave the impression of a “lazy soprano. ” Their Act II quintet was however a pleasant interlude.

Chin-Loy and Costa-Jackson delivered a hair-raising closing confrontation that introduced the night to a strong shut.  The painful intimacy, uncooked immediacy and dramatic cohesion of this closing scene blew away any reservations one may need had concerning the translated textual content, the bare-bones staging and comparability with extra refined productions and deluxe voices 5 blocks north.

Pictures: Erin Baiano



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