Review: 'Carmen' a strong start for Palm Beach Opera's new season

The Palm Beach Opera opened its 60th season with a full performance of Georges Bizet “Carmen” at the Kravis Center on Friday. The leads are double-cast but had one substitution during the evening: Zachary Nelson as the grand Escamillo.

Nelson was flawless, singing “Votre Toast” (also known as the “Toreador Song”) with all the correct placement, high notes and baritone finesse. He moved well on stage, despite the singing requirements of the aria, giving us a smirk-worthy Escamillo.

J’Nai Bridges was divine in the title role of Carmen. She performed the famous “Habanera” with depth and rich tone. This aria is always a test for the character of Carmen, as it happens very early on in the opera. In addition, it gives the performer a chance to communicate the type of Carmen they wish to be. Here, Bridges gave it everything she had, but was not getting much feedback from those around her on stage. She portrayed a strong Carmen with men pining for her in droves and enough power to lead a group of gypsy rebels single-handedly.

The chorus, prepared by Gregory Ritchey, had some of the best diction and musical precision ever witnessed in this opera. Audience members understood every word, and the performers nailed every pitch. Composer Georges Bizet scored many galloping entrances for the men’s chorus that always get lost in the onset. Not here. There was a nice initial staging of the chorus, using dusky upstage space and background conversations, but it was soon abandoned.

The women’s chorus poured onstage in Act I to convey that they were mechanical chain smokers, and it became claustrophobic and almost comical. The beautifully prepared children’s chorus, conducted by Ksenia Leletkina and the Young Singers of The Palm Beaches, was adorable.

However, the antagonistic relationship between the children and the soldiers on stage was not well conveyed. The staging did not divert from the standard tropes and added a layer of soldiers roughing up children as they whizzed about.

Amanda Woodbury performed as an innocent and ethereal Michaëla. She has beautiful floating high notes and even vibrato, effortlessly sailing through her range. The Act III aria, “Je dis que rie ne m’épouvante” was sung as if it were made just for her. Woodbury had fantastic chemistry with Jonathan Burton as Don José. She was a generous duet partner, giving equal support and color to Burton’s high notes in the Act II duet, “Parle-moi de ma mère.” Burton had a bright, cutting tone and a technique in the aesthetic of Pavarotti.

Christopher Humbert, Jr. as Zuniga, left the audience wanting more. His booming voice and humorous scowl added a refreshing layer to the mixed signals on stage. Humbert could herd the chorus with a glare and seemed to know exactly how to put up with Carmen’s antics.

The Palm Beach Opera will next present Donizetti’s “The Elixir of Love” starting Feb. 25 at the Kravis Center.