Carmen by Opera Lyra: an uneven production where fervour and moments of brilliant singing are paved with pitfalls.

By Rajka Stefanovska | September 9, 2013

Alessandra Volpe (Carmen), Alain Coulombe (Zuniga). Photo by: Opera Lyra/Sam Garcia

Opera is getting more and more popular in Ottawa. The tickets for the latest Opera Lyra production, Bizet’s Carmen, are selling like hot cakes. I even saw a few women wearing a flower in their hair as an homage to the famous title character. This is well-deserved support, given the organization’s brilliant previous season, which gave rise to the operatic art in Ottawa. Opera Lyra is definitely heading in the right direction. Of course, as the old saying, per aspera ad astra, points out, the road to success is always paved with pitfalls. Unfortunately “Carmen” proved to be that stumbling block on the road for Opera Lyra. Carmen is one of the most popular operas ever; the one sung and listened to by generations of opera lovers and non-lovers alike. Its attraction lies in its musicality, energy, and the nature of the main character – Carmen.

The musicality was definitely there in the production. Several parts brilliantly performed by the chorus created an atmosphere of mysterious and lively 19^th century Southern Europe. The children’s chorus, which carried out their role with conviction and professionalism, was a great success as well. Placed in the beautifully designed set, helped by the masterful play of lights, they portrayed an almost unrealistic beauty and playfulness. Still, something went wrong along the way. Carmen was lacking in energy, emotions and, from time to time, a natural transition between scenes. A big obstacle proved to be the portrayal of characters. The only success was Lara Ciekiewicz as Micaëla. Her rendering of an innocent village girl, deeply in love with José, was very realistic. Her emotions were truthful and were depicted by her body language and facial expression as clearly as by the verses she sang.

Now we come to Carmen, the main reason why this opera is so much loved. Carmen is defined by passion. Her every move, her every thought, her every breath is underlined by it. It’s integral to who she is and what draws the audience into the play. Her passion is not only for love, but first and foremost for life itself. She is a woman born before her time, a gypsy girl who craves freedom and independence in a time when those were only meant for men. Carmen’s love for José might have been short lived, but it is strong, deeply felt, burning, and gives with no reserve. It is because of her nature that she lives her life the way she does and dies a violent death. It is not her beauty, but her passion that attracts men. That attraction is based on mad, almost destructing fervor. At the end José, her abandoned lover kills her. Pure, true love can never kill. It is only infatuation with its racing heartbeat and boiling blood, which attacks and blurs the mind that can make you do that. That was Carmen. Alessandra Volpe did not have any of that in her. Her representation of Carmen was that of a selfish, mindless girl with no distinguished character, at all.

All in all, Opera Lyra produced a passionless, lethargic version of Carmen with some brilliant moments. Nevertheless, the audience liked it and rewarded the company’s effort with a long round of applause, ending in standing ovation. It showed their support and belief in Opera Lyra. I am sure that many great moments will follow this one miss.

Carmen

Production Opera Lyra with NAC Orchestra

By: Georges Bizet
Libretto: Henri Meilhac & Ludovic Halévy

DirectoJohn – Peter Jeffries

Conductor – Tyrone Patterson

Set design – R. Keith Brumley

Light designer – Harry Frehner

CAST:

Alessandra Volpe – Carmen

David Pomeroy, Don José.

Lara Ciekiewicz – Micaëla

Cory Crider – Escamillo

Alain Coulombe – Zuniga

Ellen Weiser – Frasquita

Arminé Kassabian – Mercèdés

James McLennan – Remendado

Sung in French, with English and French surtitles

Plays: Sept. 7, 9, 11 and 14, 8 p.m., NAC Southam Hall