Review: CARMEN at McCaw Hall

With tunes almost everyone can recognize, Bizet’s Carmen is universally accepted as the most popular opera of all time. Not so well known is that the composer virtually died of disappointment after the third performance, convinced that the flop he had created would never be a success, though it triumphed soon afterward. Sadly, he did not live to realize his accomplishment, but we all are fortunate to continue enjoying this immortal opera, and likely will do so for years to come.

Based on French author Prosper Mérimée’s scandalous novella of the same name, Bizet and his librettists Henri Meilhac and Ludovic Halévy created a multi-layered anti-heroine title character and her nemesis in the context of a vibrant setting. Co-produced with Irish National Opera and Opera Philadelphia, Seattle’s Carmen, with its flamboyantly portrayed characters and colorful background, fulfilled the most crowd-pleasing elements of the work. A pre-performance Flamenco trio of singer, guitarist and dancer performing in the McCaw Hall lobby  set the mood for the Spanish-flavored evening.

Former Seattle Opera Young Artist Sasha Cooke, returning to Seattle after a decade-long hiatus, made a noteworthy role debut in a title role demanding huge resilience and fortitude. Not only was she vocally dazzling, bursting forth with full, lush tones, but she also brought a great deal of thought to the complexity of the character: sensual but freedom-loving, unfathomable and shrewd, yet filled with inner turmoil.

In the other leading roles were three Seattle Opera debuts, among them Canadian tenor Matthew Cairns as Don José. he sang with great power, enough to be heard above the dense orchestration. Though the voice sounded strident at times, he gave a convincing rendering, his pleading tones especially strong in the dénouement of Act 4.

American baritone Christian Pursell’s Escamillo was one of the best in recent memory. Vocally, he lacked nothing: consistent in all ranges, with gorgeous tones and effortless top notes. He was the embodiment of virility, entirely convincing as the drop-dead gorgeous, danger-craving rock star hero who would bring any red-blooded woman to her knees.

Kathleen O’Mara gave a touching performance as Micaëla. The young American soprano’s voice was soubrette-like in the appropriate places, full-bodied in others, and exceedingly well-defined in the high notes. As she matures, she will be a bright light on the opera stage.

Also making company debuts were Armenian baritone Navasard Hakobyan as El Dancairo, tenor Daniel O’Hearn as Remendado, and soprano Meredith Wohlgemuth as Frasquita. Returning to Seattle Opera were American baritone Darren Drone as Zuniga, baritone Ilya Silchukou as Moralès, and mezzo-soprano Melody Wilson as Mercédès. Wohlgemuth was especially enjoyable in her major moments, with high notes that were clear and sparkling. All of the singers performed admirably, both vocally and dramatically.

Seattle Symphony Conductor Emeritus Ludovic Morlot, helming his first fully staged production since Wagner’s Das Rheingold in 2023, brought his characteristic French sensitivity to the podium. Greeted with roars of approval from both orchestra and audience, the much-loved maestro fulfilled their endorsement with an interpretation that was at once suave and high energy, bringing forth crisp playing from his Seattle Symphony musicians and creating an atmosphere dripping with sophistication and élan. One could sit back and luxuriate in this assuredly authentic rendering of Bizet’s luminous score.

Acclaimed for his original SO debut in this production in 2019, Scottish stage director and choreographer Paul Curran demonstrated his vitality and keen understanding of singers and dancers, giving them movements and gestures that remained dynamic throughout the evening. He added details that kept the stage activity dynamic and constantly moving and provided numerous surprise and appealing moments: Carmen’s final act of defiance at the end of Act 1 (no spoiler alerts here!), the rapt expression on the children’s faces as they gazed at their Toreador hero, and more.

The chorus movements provided ongoing interest, yet were never distracting. The violence, enhanced by Fight Director Geoffrey Alm’s compelling combats and skirmishes, was shocking yet never unseemly or out of context.

In his alluring and creative choreography, Curran was able to capitalize on the talents of a small but outstanding troupe of dancers, all of whom performed impressively. There was not a single dramatically slow moment in the entire performance.

Gary McCann’s sets and costumes and Paul Hackenmueller’s lighting designs, were striking and attention-grabbing and succeeded in making the more contemporary than traditional setting believable.

Carmen is a heavy lift for the chorus, and Chorus Master Michaella Calzaretta delivered her customary high standards, making the most of the ensemble’s prominent moments. Especially noteworthy was the declaration À deux cuartos! that begins Act 4 which, generally difficult to discern, came across as extremely understandable and resonant. Youth Chorus Master Julia Meyering did an exceptional job with the children, who sang with excellent projection and rousing enthusiasm.

The production is performed May 2–17 at McCaw Hall. Information and tickets at:       https://www.seattleopera.org/carmen