Carmen: Captivating & Especially Creative

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

Who says opera is boring?

by NONNA AROUTIOUNIAN
METRO CANADA
Published: August 04, 2011 4:58 p.m.
Last modified: August 04, 2011 5:00 p.m.

Lauren Segal as Carmen & Keith Klassen as Don Jose 

in Brott Music Festival's performance of the opera Carmen August 6, 2011

A beautiful, fiery young woman finds herself torn between love and desire for two men and a life of freedom which she has sworn to herself she would live by. She promises herself never  to fall victim to love, yet it is love that turns her life completely upside down, ultimately leading to her demise. Interested yet?

Yes, it’s awfully dramatic to be a real life story, but it does have a ring of truth many people can easily identify with: Love, life, jealousy and the trio’s resulting turbulence. No it’s not the latest movie or television drama, it’s Georges Bizet’s legendary opera, Carmen.

L-R Lauren Segal, Rachel Cleland-Ainsworth, Gregory Dahl, Mia Lennox-Williams

The famous French opera premiered in the late 19th century, which may be considered ancient by current popular culture, its basic story is one that has been played out and will continue to play out for centuries to come. Set in Seville Spain around 1820, Carmen depicts the titular gypsy as beautiful young woman free with her love and desires who kicks off a whirlwind of events by wooing an inexperienced young soldier, Don Jose, leading him to reject his former love and trigger a mutiny against his superior ranking officer. When Carmen turns away from him to another man, bullfighter Escamillio, his jealousy pushes him to violence.

Who says opera has to be complicated or boring? This particular piece is packed with drama, emotion and pure passion, not to mention great music and song which many will recognize. Canadian Opera Company’s mezzo-soprano Lauren Segal, who will be singing the role of Carmen, says the work “Is a perfect opera for a first-time opera goer. It’s filled with wonderful music and is a great, passionate story”.

Keith Klassen as Don Jose and Sinead Sugrue as Micaela

The characters themselves seem simple on the surface, yet beneath carry all the struggles and desires that real people do. Carmen herself plays a key role in the opera, and is not an easy woman to figure out.

Carmen is a challenge for anyone, she lives independently and for the moment. She is extremely fiery, headstrong and can be fatalistic. “It’s very easy to play the character of Carmen very one-sided” says Segal, “But I’m enjoying the challenge of finding and expressing her vulnerabilities as well as her strengths.”

For many opera singers, it is important to immerse completely into their roles, technically and emotionally. The first step is to finesse the role into the voice, and once there, the exploration of colour and expression can begin. For an experienced and exquisite singer such as Segal, this has proved to be an enjoyable process.

“For Carmen, I feel that the music itself is so powerful and passionate, that not much additional work is required to get in to her character - it is all there in the score,” she says.

Keith Klassen & Lauren Segal

And, of course, this is no high-school musical. On Aug. 6 at Mohawk College McIntyre Theatre, audiences can expect a full-on production. With director Giandomenico Vaccari and professional singers at the head of the stage, they are joined by the much experienced conductor Boris Brott and the National Academy Orchestra of Canada, not to mention a stage crew full of experienced production staff.

With so few classical music events this summer, this is a true headliner. From the great orchestral overtures to the beautiful arias, there is plenty to experience.

Lauren Segal as the free-spirited gypsy, Carmen

“Two of my favourite scenes are the duets with Don Jose at the ends of Act 2 and Act 4” says Segal. “They are filled with many layers, colours and passion”.

So whether you have seen many operas or none, Carmen is a steamy expressive drama you don’t want
to miss.