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Verismo Carmen?

Los Angeles
Dorothy Chandler Pavilion
11/15/2008 -  & November 19, 22, 30, December 3, 6, 7, 9, 14, 2008
Georges Bizet: Carmen
Viktoria Vizin (Carmen), Marcus Haddock (Don José), Genia Kühmeier (Micaëla), Raymond Aceto (Escamillo), Wayne Tiggs (Zuniga), Morgan Smith (Moralès), Kerri Marcinko (Frasquita), Kendall Gladen (Mercédès), Daniel Montenegro (Le Dancaïre), Hak Soo Kim (Le Remendado), Worthie Meacham (Lillas Pastia), Sara Campbell (A Vendor), Abdiel Gonzalez (A Gypsy), Robert Hovencamp (A Soldier), Christie Lynn Lawrence (An Offstage Voice)
Stuart Canin (Los Angeles Opera Concert Master), Grant Gershon (Associate Conductor/Chorus Master), Anne Tomlinson (Artistic Director, Los Angeles Children’s Chorus Master), Emmanuel Villaume (Conductor)
Javier Ulacia (Director), Emilio Sagi (Producer), Gerardo Trotti (Set Designer), Jesús del Pozo (Costume Designer), Guido Levi (Lighting Designer), Nuria Castejón (Choreographer)


(© LA Opera)


Warrack and West’s “The Oxford Dictionary of Opera” subject of verismo (in part) is captured accordingly: “the artistic outcome was for works to concentrate on areas previously regarded as better neglected, specifically the criminal, the violent, low life, and wretched or squalid behaviour. Though verismo claimed to confront the ‘slice of life’, the exceptional and horrifying as represented by the crime of passion, especially in a peasant or working-class milieu, were of particular fascination, and lie at the centre of many verismo operas.” This succinct description aptly applies to Georges Bizet’s endearing classic,Carmen. Premiered in Paris at the Opéra Comiqueon March 3, 1875 Bizet was the actual forerunner of this genre that ironically held closer association with Italian operas during a brief tenure from 1890 to the early 1900’s.



Carmen exemplifies a classic case study of down to earth realism, yet sadly enough the umbilical cord is irritatingly severed in this returning Emilio Sagi production. On loan from El Teatro Real de Madrid we again find a colorfully sufficient rendering of Gerardo Trotti’s cerebral vein with some innocuous modifications that help ground the French opera. But this is as far as it goes. Granted, long time Carmen aficionado Emmanuel Villaume scores one of his greatest triumphs of orchestral interpretation of the colorful and deeply sensuous score with calculating articulation, he sadly encounters an uphill battle that is out of his control.



Pointing a finger is fruitless, but in a word Carmen is disjointed from the beginning with a culmination of factors stemming from Javier Ulacia’s weak tutelage. Los Angeles newcomer Viktoria Vizin is well suited physically while possessing a tessitura to sufficiently tackle the most difficult of lines. She interprets her character with economical conservatism but lacks the Latin blood and spark we all yearn to see.



Recently finishing a satisfying run in Los Angeles as Ruggero in Puccini’s La Rondine Marcus Haddock does an acceptable job as the doomed Don José with an exceptionally fine display of vocal fireworks during his landmark aria, “La fleur que tu m’avais jetée” in Act II. Raymond Aceto enthusiastically embraces the role as the matador Escamillo, but the star receiving the highest accolades is Salzburg, Austria native Genia Kühmeier who makes her local debut as Micaëla. One senses unrestrained comfort in hitting several of the high notes sans harsh inflections along with controlled breathing and sustained legato. Not that Micaëla’s role requires great demands in acting, she, nonetheless, delivers fulfilled prophecy especially in her final Act III “Prière”.



The Smuggler’s quintet is lightly entertaining enough even though Carmen’s two confidantes, Frasquita and Mercédès, sung by Kerri Marcinko and Kendall Gladen, awkwardly try too hard in this and the card duet, “Et maintenant, parlez, mes belles”. Supporting characters, Zuniga, sung by bass-baritone Wayne Tigges and Morgan Smith’s Moralès add some pleasing Spanish flavor.



People with discerning qualities will find Javier Ulacia’s direction discombobulated and confusing. Guido Levi’s talents in last year’s Fidelio were an awesome spectacle yet in this Carmen he falls asleep at the switch. Nowhere do we see any spotlights on the principals. One befuddled observer turned to me, “Where’s Carmen?” (Act II).



In a nutshell Jesús del Pozo’s costumes are something of an anomaly. Cigarette girls, ironically dressed in sterile white, look unimaginatively dull to the chagrin of puzzled looks inside the theatre unaware of who is fighting whom during Act I’s melee with Carmen and Manuelita. Act III’s gray and drab mountain clothing are apropos with exception of Carmen who appears amusingly dressed like a nocturnal sloth. Mr. Pozo redeems himself with a more colorful pallet a la Andalusia in last act’s bullfight scene. Lastly, what on earth ever possessed Mr. Pozo to cross dress Lillas Pastia, annoyingly pulling off his wig to the sight of a bald head only to distract the more important action unfolding as Carmen sings “Je vais danser”?? Why does Lillas Pastia blindfold Zuniga and shoot him in the head point blank….ah, all for “libertad”?



Solely based on the merits as a former ballet dancer, Nuria Castejón is a sure choice for choreographing Flamenco numbers. These are thrilling and creative. Enough. Her blocking of chorus sections lack spontaneity, the boys’ corps appears instructional, weak, dumb and anemic, fighting is deplorably unrealistic while the audience squirms in their seats, embarrassed for those cast members that don’t really have a clue as to why they are on stage. Disturbingly frightful.



Carmen is a spellbinding flow of dazzling arias, recitativo accompagnato, exhilarating ensembles, Flamenco dance, marches and resounding choruses. While Bizet’s music provides the critical backbone, so, too, must all the other aspects deliver with resolve. Whether or not one is concerned about fastidious details, caution is a better part of valor.



People who explore opera for the very first time are encouraged by others’ comments of beauty and tradition of this French classic. I write this because there is more riding on this for me personally. After a lengthy process, I’ve finally been able to persuade four new patrons to opera who will be exposed to our art form for the first time beginning with Carmen.



A production needs to be sharp, crisp, vibrant, cohesive, clairvoyant, passionate, traditional, and most importantly, approachable. Think “big picture”: retain basic principles, using moderation and balance without going overboard. As existing patrons of the art, our duty is to encourage new subscribers. Without the aforementioned we will lose them forever.



Carmen has a few bright spots, but the orchestra is the one element that excels above the rest. It is with great disappointment that I express such degree of apprehension. I trust these observations are taken as constructive criticism in the hopes that some very careful thought and reconstruct can take place for the remaining performances. I have a personal stake in this one.



Christie Grimstad

 

 

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