Review: CARMEN at Martin Marietta Center For The Performing Arts

Opera can sometimes feel like an entirely different world, one that may seem a little intimidating or inaccessible to those unfamiliar with the art form. Yet chances are, you’ve experienced opera without even realizing it. From Looney Tunes to Hey Arnold!, some of the genre’s most recognizable melodies have found their way into popular culture. Georges Bizet’s Carmen is a perfect example, offering newcomers and longtime opera lovers alike the opportunity to experience these familiar compositions within the story that made them famous.

Set in Seville, Spain, Carmen follows a fiercely independent woman whose refusal to conform to society’s expectations sets off a passionate and ultimately tragic chain of events. When the soldier Don José becomes infatuated with Carmen, he finds himself increasingly torn between his responsibilities and his growing obsession with a woman determined to live life on her own terms. It’s a story filled with romance, jealousy, and the consequences of love becoming something far more dangerous.

North Carolina Opera’s production is directed by Denyce Graves, who has an extensive history performing the title role herself. That experience brings an interesting perspective to the production, particularly in its portrayal of Carmen as a woman whose independence and refusal to conform remain central to her identity and the driving force of the story.

At the center of the production is Gina Perregrino as Carmen, who brings a commanding presence to the stage from her very first entrance. The mezzo-soprano tackles Bizet’s demanding score with apparent ease, including one of opera’s most recognizable pieces, the “Habanera.” Her voice is exquisite, with every “tra la la” perfectly placed. Perregrino’s arrival injects a welcome burst of energy into the production, but it’s the conviction behind her characterization that makes her particularly compelling. On the surface, the character of Carmen can easily be dismissed as combative, but Perregrino’s portrayal brings something more nuanced. She remains firmly and unapologetically herself, refusing to bend to the expectations of those around her. It’s a characterization rooted in conviction rather than confrontation, something distinctly human, and one that makes her impossible to ignore.

Eric Taylor brings impressive vocal strength to Don José, providing a compelling contrast to Perregrino’s more fiery characterization. His powerful tenor is a highlight of the production, particularly as the character struggles between his sense of duty and growing fascination with Carmen. Another highlight comes when Laureano Quant’s Escamillo bursts onto the scene with his rendition of the famous “Toreador Song”, which brings an infectious energy to the stage and showcases his commanding presence as the charismatic bullfighter.

Under the baton of conductor Joseph Mechavich, the orchestra brings Bizet’s celebrated score to life with tremendous richness and energy. There’s something particularly exciting about experiencing these familiar melodies performed live, finally experiencing them within the story they were originally written to tell. My companion, attending their very first opera, kept tapping me throughout the evening as they recognized pieces like the “Habanera,” the “Toreador Song,” and even the music accompanying Carmen’s private castanets dance for Don José. Those moments of recognition made the experience feel immediately accessible to someone completely new to the art form, and it was a joy to share in that excitement.

Visually, Howard Tsvi Kaplan’s costume design makes particularly effective use of color to distinguish the different characters and communities. The soldiers are dressed in yellow, while the townspeople largely occupy a more neutral palette. Carmen, naturally, commands attention in her signature red, contrasting beautifully with Micaëla’s blue. Escamillo’s red cape also creates an immediate visual connection to Carmen, subtly reinforcing the relationship between the two.

Steven Kemp’s scenic design establishes the world through a weathered stone landscape, a simple staircase, and additional pieces that transform the space as needed. While effective in creating the atmosphere of Seville, I did find myself wishing the staging incorporated more variation in elevation, particularly during the larger ensemble sequences. With so many performers occupying the stage simultaneously, additional levels could have helped distinguish the different groups and create more dynamic stage pictures.

While I didn’t always find myself fully invested in the relationships and drama unfolding onstage, my appreciation for the sheer talent and musicality of this company never wavered. Judging by the passionate applause and palpable excitement throughout the auditorium, that appreciation was certainly shared by those around me.

There’s something wonderful about experiencing that collective enthusiasm for an art form that continues to captivate audiences more than a century after its debut. North Carolina Opera’s Carmen may not have entirely won me over dramatically, but its musical artistry is undeniable. For longtime opera lovers and curious newcomers alike, this production offers a compelling reminder of why Bizet’s celebrated work continues to endure.

North Carolina Opera's Carmen runs at Martin Marietta Center For The Performing Arts' Raleigh Memorial Auditorium through October 18th.

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