Carmen

Carmen was the first opera I went to, a beautiful, intimate production at Theatre de la Jeune Lune.  Like most people, especially the opera novices like myself, Carmen is accessible in part because so much of the music is recognizable. One forgets how deeply Bizet's melodies have woven their way into everyday life, each spicy, sensual vocal or orchestral dance bringing a smile of recognition.

That immediate recognition must make Carmen equal parts exhilarating and exasperating to direct and envision. The Minnesota Opera takes a classic and runs with it, embracing the heat and flash of the 1970s and delivering Carmen's sultry take on doomed love with the gusto it deserves. Sung in French with English subtitles, the three hour show moves at a robust pace. There were no yawning lulls, as even Micaela's heartache moves at a quick clip. Carmen's steady march toward destruction is made all the more dramatic by stunning visuals courtesy of top notch lighting and a beautiful play of shadows and light.

Performances are astounding. My only sadness was that Micaela was a bit dowdy. I prefer a brighter contrast to Carmen, not so much a housewife vs. a harlot, but an angel vs. a demon. But vocally these two women are a perfect foil, Micaela's soaring, pristine soprano offering a ladylike, almost regal, contrast to Carmen's mezzo-soprano sensuality and darkness. Don Jose is properly torn between this darkness and light, and the tenor perfectly imbues that struggle with the crazed passion it requires. Thankfully, he removes his sweater vest before closing in on his beloved, as I can't quite believe a murderer in a sweater vest.

Sweater vests are only the beginning of a costume parade that includes roller skates, fringed leather, and a pair of satin pants that makes Toreador as much a thrill to watch as to hear. This is a lush, sexy world and every inch of the stage seems to pulse with that sensual energy. Embrace a bit of tragic yearning and don't miss Carmen at Minnesota Opera, playing through May 10th.

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