Kennedy Center for the Performing Arts.Īrnold Saltzman is composer of opera, symphonies and ballet, and the rabbi of three Maryland congregations.Soldiers and townspeople mill around in a square in Seville. 1 by the Washington National Opera at the John F. The chorus of migrants in the third act reminds us of Syria and of the human challenges facing our world as hundreds of thousands of people continue to be displaced.Ĭarmen, composed by Georges Bizet, libretto by Henri Meilhac and Ludovic Halevy, in French, based on the novella by Prosper Merimee, presented Oct. Again, I was bothered in the first act as the flamenco dancers danced in a percussive manner over the opening overture.Ī question needs to be asked: Could they have done this as a prologue in silence, followed by the musical explosion of the orchestra, rather than adding to the crafted work Bizet has given us?Īfter all, with Carmen, Bizen has given us so much - and not just musically. Fanny Ara and Timo Nunez performed these so well, the audience craved an encore. While all the musicians played well, the winds were especially notable.Ĭhoreographer Sara Erde created flamenco dances which opened each section of the opera, while the orchestra played the overture and interludes. What a missed opportunity here.Īs the opera progressed, some of these details were coaxed out, and when this happened, the instrumental overtures and interludes were applauded. Attention to detail and knowledge of historic performance practice adds depth and nuance. But, I had the feeling that many of the details of the arias were not properly mined, especially instructions for rubato, tenuto and fermata for the singers. She gave a truly moving performance with a voice Washingtonians will be talking about.Ĭonductor Evan Rogister led a polished and energetic performance of the Washington National Opera Orchestra. Her voice was so beautiful that you could feel the electrical current it generated in the audience. Among many excellent supporting singers, the role of Micaela was sung by Jania Brugger. His sound is dramatic, and I hope that this singer will find a lighter side to his fine voice. Rafael Davila as Don Jose sang the “Flower Song” with ringing tones and good legato, especially in the slow scale ascending finale of the aria. While the chorus never failed to be less than excellent, the use of a large table to stand on reminded me of musical comedy, and it served no purpose.Ĭarmen has only to sing and we know we cannot escape this seductive music here, Carmen was sung by Clementine Margaine, who is perfect in this role, matching the great Rise Stevens and Concita Supervia. The costumes and sets were rich with vibrant color, yet the combination of realism and abstract sets did not quite work for me.
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