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Chad Shelton (Don Jose) and Sandra Piques Eddy (Carmen) in Portland Opera's latest "Carmen"
(Cory Weaver)
In the first act of the
latest show, soldiers in a Seville square flirt with a cigarette factory's female workers. Among the women is a certain Carmen, and for a corporal named Don Jose she is not unlike a lit cigarette herself, smoking hot and ultimately dangerous to his health. So begins one of the most popular operas of all time, in a lively, gutsy new presentation which opened Friday night.
"Carmen" is an apt choice for the company as it celebrates its 50th anniversary season -- they've put on
's greatest hit about every seven years. It's a sure audience draw, but it carries the risk of inviting comparisons to previous productions and of simply seeming tired. This one compares favorably to the last few, however, and its energy was unflagging.
Highlights:
More lavish visually than Portland Opera productions have typically been in recent seasons, the production (originally created for the now-defunct New York City Opera) was unabashedly grand and faithful to a period look: Paul Shortt's sets filled the stage with sumptuous detail, and Shawn Kaufman's lighting design illuminated them beautifully, bathing Seville scenes in warm sun and giving a Pyrenees pass striking touches of moonlight. Eric Einhorn packed often well-populated scenes with plenty of smooth action, and George Manahan led a robust orchestra with tempos that were often bracing but always sensitive to the singers.
Low notes:
Vocally and dramatically, the show didn't fully loosen and warm up until the second act, and the chemistry between the principals was unconvincing in the first. Manahan and the orchestra were better on the throttle than on the brakes, so balanced tended to suffer once they pushed their dynamics. French pronunciation ranged from excellent to awkward among the cast.
Most valuable performer:
Sandra Piques Eddy, who last appeared with Portland Opera as a ravishing Zerlina in "Don Giovanni" a couple of seasons ago, is a captivating Carmen for a new generation. Vocally, she was especially powerful and lustrous in the lower part of her range and appealing throughout as she warmed up. Dramatically and physically, she was a tempest in a shapely, scalding teacup and a passionate yet pitiless femme fatale. Chad Shelton was a suitably ingenuous Don Jose, with a sweet, strong tenor that blended especially well with her lovely mezzo in the second act. Like Piques Eddy, baritone Eric Greene (as the bullfighter Escamillo) was vocally rich, with a particularly strong lower register, and a compelling presence on stage. The cast overall was young, strong and well matched, with other especially noteworthy performances from Jennifer Forni (Micaela), Katrina Galka (Frasquita) and Angela Niederloh (Mercedes).
Nice touch:
Flamenco dancers Glenda Sol Koeraus and Antonio Granjero entranced, particularly in a before-the-curtain
pas de deux
during the set change before the last act.
Word to the wise:
If you go next Saturday to heat up your Valentine's date, you might want to leave after the second act to keep the romance alive.
Takeaway:
"Carmen" may be one of the most frequently performed of all operas, but there's still life in the old gal.
Repeats:
Sunday at 2 p.m.; Tuesday, Thursday and Feb. 14 at 7:30 p.m.; Keller Auditorium, 222 S.W. Clay St.
Tickets:
--James McQuillen