In its increasingly and widely supported endeavors, Opera in Williamsburg brought to us one of the most popular works in the repertoire, Bizet’s “Carmen,” and Friday’s Kimball Theatre production nearly packed the house and for good reason: It was very good.
“Carmen” is hugely popular for its simple story of the gypsy woman who seduces police lieutenant gone rogue Don Jose and eventually dumps him, only to have him kill her. And, most importantly, it’s popular for its score, with hardly a moment or measure without a familiar tune.
Under the founding leadership of Naama Zahavi-Ely, OiW continues to place its money where it counts: on the voices. However, where the group has traditionally worked with minimal scenery and props, quasi-street clothes costumes, and a salon scaled ensemble, this “Carmen” expanded its effort, using actual costumes, increased props, a 13-piece orchestra positioned on the floor in front of the stage and a large cast.
The effort was worth the doing in that the production had many merits all of which added immensely to OiW’s constant emphasis: voices. Using her extensive international network of vocal resources, Zahavi-Ely assembled one of the group’s strongest singing forces yet, all of whom boast notable credits at important opera houses around the world.
Without doubt, the hands-down standout of this “Carmen” was mezzo-soprano Lisa Chavez in the title role. Chavez embraced both the vocal and dramatic demands of her Carmen, applying her rich, dark, well-projected mezzo to a well-conceived portrayal, the results being seductive, persuasive and powerful. There was never any doubt as to who was in charge in this Seville setting and the tragic romance that ensued.
The jilted lover, Don Jose, was given a solid rendering by Eric Fennell, although at times, despite a secure and well placed tenor, his sound projection could have used more push. Somewhat similarly, his interaction with Chavez needed more passion to make Don Jose’s attraction to Carmen and vice versa more credible.
The man for whom Carmen threw Don Jose aside is Escamillo, here wonderfully sung by Yuri Kissin, whose bass-baritone was dark and deep, reaching solidly into the lower depths with power to spare. Although his Escamillo needed more swagger, his effort was mighty impressive and his stage time compelling.
Continued vocal excellence came with Elinor Sohn whose sweet soprano as Michaela, thwarted lover of Don Jose, was a delight to hear. Equally attractive singing came from soprano Megan Pachecano (Frasquita) and mezzo-soprano Elsa Queron (Mercedes); baritone Suchan Kim (Dancaire), tenor Pavel Suliandziga (Remendado) and bass-baritone Adelmo Ghirardelli (Zuniga/Morales), all of whom delivered full-bodied, powerhouse sounds. Contributing to the vocal goods were the ensemble singers who served numerous roles and enhanced the first class singing heard throughout.
Considering the lack of stage space, director Isabel Milenski did an admirable job using that space to create atmosphere and allow dramatic action to flow when necessary. Visual projections continued to be used effectively to add a sense of depth to the depthless stage, not to mention thematic attractiveness. Adding substantial appeal were props, which added realism, and effective costuming, provided by tenor Eric Lamp.
Jorge Parodi conducted in his always solid style, neatly keeping things in order between the pit (such as it was) and the stage. Despite occasional intonation issues in the brass, the score’s beauty and drama flowed from start to finish, rounding off the notably fine attributes of this “Carmen” and setting the stage for September’s “La Traviata.”
Shulson, a Williamsburg resident, has been covering the arts for over 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.”
