Here is my Friday, October 15, 2010 Chicago Sun-Times and suntimes.com review, with small cuts restored, of Lyric Opera of Chicago's revival of Bizet's Carmen. Runs through October 29 and then returns with new cast leads in March 2011.
Célestine Galli-Marié, the original Carmen, in her portrait by Nadar.
'Carmen' full of surprises
OPERA REVIEW | Lyric finds sheer beauty in Bizet work with right cast, conductor
The staples of the operatic repertoire often hold the unexpected. Will the audience discover a new talent? Will a director help us see an old friend in a new light? Will the orchestra exceed expectations?
Such is the case of what was once the John Copley production of Bizet's Carmen, which opened Wednesday night at Lyric Opera of Chicago. Copley's traditional concept allows for a straightforward performance of this 1875 tale of steamy Gypsy love and madness, although his name is nowhere to be seen in this edition's program. The refreshed Robin Don sets and Robert Perdziola costumes don’t seem 10 years old under Jason Brown’s new lighting. And for the most part, Harry Silverstein's new direction lets us concentrate on the story of Carmen and Don Jose and listen to the much-loved music. That in itself can count as novel these days.
Alain Altinoglu, the Armenian-French conductor making his Lyric debut, has those hands. He knows how to pace each section and melody; he also knows the dance rhythms that Bizet used and the ways that the composer adapted them. The singing, always beautifully supported by Altinoglu, becomes a part of the score, and the drama moves forward as a unity.
Surprise No. 2 comes from Korean tenor Yonghoon Lee, a recent Mannes School alum, as the doomed Don José. Thin and initially reserved, he possesses an unexpectedly powerful voice. The tougher the material, the more he rises to the occasion as both singer and actor. His Flower Song in Act 2 literally stopped the show. His descent into an eerie, murderous stalker in Act 4 was frighteningly believable. A career to watch.
Surprise No. 3 -- the continuing recasting of the title role -- had a bit of the edge off by opening night. Both the intended Carmen and José were hit with life-threatening illnesses last year; then the much-anticipated Kate Aldrich had to withdraw late in the rehearsal period from what was to be her debut due to side effects of pregnancy.
Iowa-born Katharine Goeldner, set to sing only the October 29 date, stepped up. Hers is an old-fashioned but often enjoyable stage performance -- she even states in the program that she models her characterization on Rita Hayworth in her 1948 Hollywood vehicle The Loves of Carmen. But audiences today expect more fire and sensuality in this part. She sings wonderfully, though; she'll grow into her partnership with Lee. Bulgarian mezzo Nadia Krasteva was already slated to head up the March 2011 cast when the production returns.
There's rarely much love for José's jilted gal Micaëla, but Cuban-American soprano Elaine Alvarez, a show-saver as a last-minute Mimi here three years ago, adds little of her own fire, either. Some of this might be because she has been dressed as if she were the milkmaid mother in an opera of Heidi. (Nicole Cabell will take this role in the spring.)
But baritone Kyle Ketelsen, another Iowa native, gives a breakout turn as the toreador Escamillo -- a part much harder than it might seem -- despite being made up to look like Zeppo Marx. Ryan Center soprano Jennifer Jakob, mezzo Emily Fons, baritone Paul Scholten and tenor René Barbera are well above the usual level as Gypsies Frasquita and Mercédès and their smuggler sidekicks. Their Ryan colleagues Craig Irvin and Paul La Rosa are also impressive in supporting parts.
It's the music that reigns here, however, and Lee's strong and haunting performance. Donald Nally's chorus excels, and Josephine Lee gets superb work from members of her Chicago Children's Choir. Silverstein needs to step up the last act march to match the idiomatic spirit that Altinoglu brings from Lyric's orchestra and its section soloists.
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