The Ontario Arts Review
Review by Danny Gaisin
Aug. 7th, ‘11
It’s been this opera-loving writer’s experience that performances of the genre take two forms only…full blown (and expensive) mountings with elaborate sets and meticulous costuming; or in-concert mode wherein formally dressed soloists present the major arias in duet or quartet format. Last evening, the 2011 Brott Festival bridged the gap between both structures with a superlatively professional staging of Bizet’s iconic “CARMEN”. Only omission: - grandiose scenery or flats. Costumes – yes; full orchestra – of course; choir – naturally; surtitles™ - de rigeuer; and talented divas/divos – certainly. Then the icing … creative gloss and imaginative presentational arranging from an inspired Giandomenico Vaccari – artistic coordinator of Italy’s ‘Teatro Politeama Petruzzelli’.
Vaccari ingeniously incorporated the physical layout of Mohawk’s McIntyre Theatre utilizing the aisles and side panels into the story, thus making the audience part of the crowd scenes and eliminating the need for supernumeraries (but we weren’t honorarium-ed!).
Cast of CARMEN, accepting kudos!
His arrangement of the opera expanded the amount of un-sung dialogue which escalated plot progress, without diminishing dramatic buildup. A canny piece of imagery… during the familiar overture, the hero and heroine are motionless silhouettes portending the finale stabbing. Creatively, he had his singers blocked with constant movement negating any sense of static so endemic to concert versions. Director Vaccari admitted post-curtain that he does not micro-manage; instead insisting that his performers contribute their own elements to their portrayals.
The first major aria, Carmen’s ‘Habanera’; had mezzo-soprano Lauren Segal iterating ‘L’amour et un oiseau rabelle’, analogous of her own persona. Barefooted and frowzy-headed, she emanated all the sexuality a temptress can muster. Not only was Segal the title character, she made the show her own, even with a dynamic octet of co-stars. As her lover cum nemesis, Keith Klassen’sDon José was a tour-de-force interpretation. To his commanding presence and superb vocal skills, he added a dimension of vulnerability that is infrequent in this role’s interpretation. As his back-home girlfriend, Sinéad Sugrue’s Micaëla projected all the tentative diffidence that the role demands. Her solo aria at the beginning of Act III; ‘je dis que rien…’ had the insincere bravado we’ve all experienced at one time or other. Not only did she deliver a heartfelt vocal rendering, she projected an equally potent thespian depiction as well.
The hypotenuse of the love triangle is an eminent toreador, and baritone Gregory Dahlimbued all the arrogance of a celebrated Palmer, Bryant or Lemieux. He enhanced his depiction with exaggerated posture and swagger that was not only effective, but genuine. His vocal description of the confrontation his ilk has with the bull was viscerally impacting. Bass Stephen Hegedus gave a credible rendering of Don Jose’s commanding officer who also has the hots for Carmen; and exceptional vocal support came from Mia Lennox-Williams & Rachel Cleland-Ainsworth as Carmen’s BFG’s. Baritone Justin Welsh contributed a strong interpretation to both his roles, including the test of being the opening soloist at the end of the overture.
Vaccari and Luigi Fuiano receiving plaques from Terry Whitehead
The Arcady Singers and the National Academy Orchestra were both led by conductor Boris Brott. A preamble and presentation to the guest directors by Hamilton council-member Terry Whitehead referred to maestro Brott as a “gemlike asset to the culture & status of our city” *** The “ARTS REVIEW” has just learned that Brott has been appointed principal guest-conductor of the acclaimed ‘Teatro Petruzzelli’. This Bari landmark; for those who enjoy B/W subtitled movies, will recall it as the actually-named setting of Sordi’s 1973 movie ‘Stardust”!
Comments, dangaisin@sympatico.ca