Tag Archives: Carmen

PORTopera Delivers a Landmark “Carmen”

PORTopera “Carmen”
Merrill Auditorium
July 27
by Christopher Hyde

Bizet’s “Carmen” can be summed up by a well-known pornographic postcard from the composer’s Paris, in which a beautiful young woman accepts a bouquet from a Romantic lover. A drapery or curtain conceals her lower half, which is receiving the intimate attentions of a well-endowed brute.

In PORTopera’s new production, premiered Wednesday night at Merrill Autditorium, artistic director Dona D. Vaughn has elevated the love-lust dichotomy into to a tragedy worthy of “Macbeth.”

She is ably abetted by a fine orchestra, conducted by Stephen Lord, a cast like that of the Metropolitan Opera, and a set, with its sometimes solid and sometimes broken adobe walls, that mirrors the tragedy. The setting and authentic costumes, from Franco’s Spain of the 1930’s, also make a substantial contribution to Vaughn’s characterizations.

To take just one example, the bullfighter Escamilio’s absurd suit of lights emphasizes his role as Carmen’s ticket out of the gypsy life. He is not an heroic figure but the handsome boy next door, strutting his bravado but totally unsure of himself. Carmen can wrap him around her little finger. unlike Don José, who even wins a knife-fight with the toreador. The role is played with appropriate nonchalance by bass-baritone Edward Parks

If there were ever a mezzo-soprano perfectly suited to sing Carmen, it is Israeli-born Maya Lahyani, who combines a voice to die for with acting ability, beauty and stage presence. She is one of the few Carmens I have seen who makes Don Jose’s and Escamillo’s infatuation entirely believable.

After setting the stage, the tragedy begins when Carmen, uncharacteristically, waits for Don José because he has gone to prison for her. She is trying to break out of the flirtatious, man-killing pattern she has set, but after seducing Don José to join the bandit troop, she begins to regret her decision. Still, she stays with him longer than any other man in her life, until she finds herself outgunned by the traditional world, in the person of Micaëla, allied with Don José’s mother.

Tenor Adam Diegel, as Don José, has just the right mixture of passion and conventionality as the deeply divided anti-hero.

Soprano Amanda Woodbury is spectacular as Micaëla, whose seeming timidity and religiosity disguise a will as strong as Carmen’s and more sure.

Like Macbeth, Carmen consults an oracle about her future, always a bad idea, and finds nothing but death, impossible in the full Tarot deck (I think), reflecting her own subconscious knowledge that she is losing her youth and beauty.

She refuses to give in, and takes up with Escamillo, either as a last fling or an anchor against old age. In the final act we see her and her delightful friends Mercédes, mezzo-soprano Sahoko Sata, and Frasquita, soprano Maeve Höglund, dressed in the 1930s version of Spanish ladies of fashion. Carmen’s wild hair is in a bun, and she is dressed in an outfit that seems sedate, at least for her.

In the final confrontation with Don José, she could easily have diverted his wrath, but decides once more to tempt fate, and defies him, while addressing her persona in the third person: “Carmen never gives in.” It is this hubris that precipitates the tragedy.

After the stabbing, Carmen’s body is surrounded by a squad of soldiers, all with their rifles pointed at her body, and incidentally, her murderer Don José. The scene returns us to the beginning of the opera, in which Carmen is flirting with the same soldiers.

In my rewrite, there’s a happy ending. Don José gets a suspended sentence for a crime of passion, (It’s Spain after all) marries Micaëla and lives happily ever after, his mother having recovered from her terminal illness due to joy at seeing her son again.

Seriously, this version of “Carmen,” the third in the history of PORTopera, will stand as a landmark. Every part of the world’s most popular opera is there, down to the last syllable, through four acts, two intermissions and a pause, but it is riveting throughout. Every role is almost perfectly sung and acted, and the crowd scenes with the children’s chorus set off the tragedy by their sheer exuberance. There are a few seats left for Friday’s performance, and this is an experience worth having, no matter how far up in the balcony one has to sit.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

PORTopera Offers Major New Production of “Carmen”

“Carmen”
Merrill Auditorium
July 27 and 29
by Christopher Hyde

PORTopera’s 2016 production of George Bizet’s “Carmen” promises to be a landmark in the company’s long history in Maine. It was first performed 22 years ago at the State Theater, 11 years ago at Merrill Auditorium, and this year in a fully staged version at Merrill, with lead singers from the Metropolitan Opera.

Dona D. Vaughn has directed all three productions, and, as usual, has a surprise in store for audiences. She won’t say what it is, but it occurs in the third act. “Carmen” is scheduled for two performances at Merrill Auditorium: Wednesday, July 27 and Friday, July 29, and there are still a few tickets left. Maestro Stephen Lord will conduct a full orchestra, an auditioned adult chorus is being rehearsed by Robert Russell, and a children’s chorus by Sarah Bailey.

Why “Carmen” (again)? “It’s the most popular opera in the repertoire, surpassing “La Boheme” and ”Madame Butterfly,” and every time you see it, you find something new,” said Vaughn.

The opera has appeared in many guises, including the movie “Carmen Jones” with Harry Belafonte. Vaughn’s version will be traditional, sung in French with English supertitles, but set in the 1930’s around the time of the Spanish Civil War.

“Google is wonderful for authenticity,” Vaughn remarked. “You want Spanish wine bottles or rifles from the Franco era, and there they are. There’s no guesswork.”

The period sets were designed by Judy Gailen. “Just the change in style makes a difference in stage direction,” Vaughn points out. “The actors move differently in different costumes.”

The cast of the new production is a blend of Met singers and audience favorites from previous PORTopera presentations.

Maya Lahyani, mezzo-soprano, will sing the role of “Carmen.” The Israeli opera singer is a 2010 grand finalist of the Metropolitan Opera National Council Auditions and the recipient of an Adler Fellowship at San Francisco Opera. Highlights of Lahyani’s 2015-2016 season include performances at the Metropolitan Opera as Maddalena in “Rigoletto,” and Lola in “Cavalleria Rusticana.” “She not only has a wonderful voice, but is also a good actress and an artist passionately devoted to her role,” said Vaughn.

Adam Diegel, tenor, returns to PORTopera as Don Jose. This season, Diegel will also perform as Pinkerton in “Madama Butterfly” at Opera San Antonio, a role in which he was greatly admired a few seasons back by PORTopera fans.

Amanda Woodbury, soprano, will sing the role of Micaëla, in which she made her professional debut at LA Opera in 2013.

Ed Parks, baritone, will sing the role of Escamillo. Parks sang in Metropolitan Opera productions of “La Bohème,” “Die Zauberflöte,” and “Don Carlo” in the 2014-2015 season. This is his third time singing with PORTopera Previously he played Marcello in “La Bohème” and made his debut as Sharpless in “Madama Butterfly,”

Kenneth Kellogg, bass, will sing the role of Zuniga. .

Sahoko Sato, mezzo soprano, will sing the role of Mercédès. She is a native of Tokyo and grew up in Japan, Germany and the US.

Robert Mellon, baritone, returns to PORTopera to sing the role of Le Danca. He performed with PORTopera as Marullo (“Rigoletto”), in the title role in “Gianni Schicchi,” as Prince Yamadori (“Madama Butterfly”), as the Corporal (“La fille du régiment”) and as the Man (“Café Vienna”).

Lucas Levy, tenor, returns to PORTopera to sing Le Remendado while covering the leading role of Don José. In the summer of 2015, Levy joined PORTopera as a Young Artist, singing Spoletta in “Tosca” and the trio tenor in “Trouble in Tahiti.” Previously, Lucas appeared as Borsa in “Rigoletto” and Gherardo in “Gianni Schicchi.”

The role of Morales will be sung by Jorelle Williams and Maeve Höglund will sing Frasquita.

While we’re on the subject of PORTopera, the company’s Young Artists production of Gian Carlo Menotti’s “The Medium,” can be seen tonight (Friday) at the St. Lawrence Theater in Portland, and at Ocean Park in Old Orchard Beach on Sunday.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.