by Mort Levine
Milpitas Post
The streets and clubs of downtown San Jose were a lively, youthful hubbub of activity Saturday night. For the lucky opera-goers who made their way into the California Theatre, the on-stage scene was no different. They matched each other’s turbulent humanity with a colorful vitality and fetching music. “Carmen” had returned to share with us a zest for life, a lack of caring about tomorrow and a sexual fire that was a short cut to a tragic end.
Opera San Jose’s new production of a work it has staged several times brings a straight-forward retelling of the most performed opera in the world.
It does it with a smoothly meshing mix of complex but eminently memorable music, a diversity of voices in solos, duets, ensemble arias and a chorus that actually participated as characters in the unfolding drama. The work of a magnificent musical genius who didn’t live long enough, Georges Bizet’s “Carmen” was the last work before his death at 37. It was a controversial work about disreputable people that shocked Paris’ bourgeoisie accustomed to the bloated historical epics of French grand opera.
The title role seems like a natural for the company’s resident mezzo soprano Cybele Gouverneur who brought a sultry lower register to shape her willful, manipulative character. She swiftly makes men her slave and discards them as quickly. Great music can convey these passionate extremes and Bizet’s score pulls us along with one great tune after another.
The story is a simple one. A naive village lad turned into a corporal guarding a public square in 19th century Seville is totally captivated by a Gypsy girl from the adjoining cigarette factory. Falling into a jealous possessive love, he deserts the Army to join a band of smugglers. She dumps him for a fling with a famous bullfighter. Distraught, he stabs her as the bullfighter triumphs in the arena.
Don Jose is portrayed by Alexander Boyer, whose piercing tenor voice was ideal for the torments he endured. The bullfighter, Escamillo, was sung by Bulgarian baritone Krassen Karagiozov. His famous toast to courage and love, the “Toreador” song, brought a ringing ovation as did Carmen’s “Habanera,” a seductive Cuban song that Bizet borrowed and turned into a world-renowned tune.
Rebecca Davis’ buttery coloratura soprano brought a special contrast to the opera with her village-girl innocence as she attempts twice to bring Don Jose back to his country town and his ailing mother. Her two arias were met with resounding applause.
Sandra Bengochea, who sang with the company before marrying her tenor husband, stepped into the stage director’s role. She moved the ample forces with smoothness and brought a seamless cohesion to the complex assortment of groupings on stage.
David Rohrbaugh’s orchestra was led with vigor and pace. The company’s musical director, himself a signer and vocal coach, was in complete command throughout. The orchestra particularly shone in the intermezzo before the final scene especially the haunting flute solo by Isabelle Chapuis.
“Carmen” is double cast during its eight performances. This cast will sing tonight (Thursday, April 23) as well as April 26 and 28. The cast headed by Bettany Coffland as Carmen, Michael Dailey as Don Jose and Daniel Cilli as Escamillo goes forth Saturday, April 25, as well as May 1 and 3.
These performances mark the conclusion of Opera San Jose’s 25th season. Coming up Saturday, May 16 at the California Theatre is the third Irene Dalis Vocal Competition, which will spread magnificent vocalizing as well as $50,000 to deserving singers chosen by a jury and the audience. Tickets are now on sale for this event as well as for the next season. The four operas in 2009-10 include Massenet’s “Manon,” Mozart’s “Marriage of Figaro,” Rossini’s “Cinderella” (“La Cenerentola”) and Puccini’s “Rondine.”
