Who would think that the story of a promiscuous barfly and her stalker would become one of the world’s most popular operas? But Georges Bizet’s “Carmen” is certainly that, and Minnesota Opera’s season-closing production underlines its attractiveness: Before it even opened Saturday night at St. Paul’s Ordway Music Theater, it already had sold more tickets than any production in the company’s half-century history.
There’s a caveat with that: Minnesota Opera is offering about twice as many performances as customary. But its “Carmen” is a production with a lot of imagination and a very intriguing design. And instead of being chiefly a showcase for its leads — as “Carmen” has been known for many an opera star — this is a very impressive ensemble piece, with minor characters fleshed out in fascinating fashion and outstanding singing coming from all corners of the cast.
Not to take anything away from Saturday night’s four principals, who will be engaging in a job share with four others over the course of the three-week run. Nora Sourouzian has a dark, distinctive mezzo-soprano voice and creates a totally believable characterization with her tough, street-smart Carmen. Rafael Davila brings an earnest yearning to his impassioned arias of love for her as Don Jose. And what a pleasure to experience Kyle Ketelsen’s rich, textured low register and charismatic swagger as the toreador, Escamillo. Yet I can’t recall a “Carmen” in which the visiting girl from Don Jose’s hometown, Micaela, so dominates her scenes as when Marita K. Solberg delivers her sweet, sad arias.
But no matter which set of leads you get, the staging will give you plenty of fresh perspective on this oft-revived opera. Director Michael Cavanaugh maintains its original setting of Seville, Spain, but fast-forwards to 1975, right after the death of oppressive dictator Francisco Franco. There’s chaos and corruption as military rule crumbles, and opening to the outside world involves garish wardrobes, disco dance moves and porn smuggling. Amid all this, Carmen seduces hapless soldiers and a superstar bullfighter before becoming the object of a most unhealthy obsession.
While the period costumes are hit and miss, the performances from secondary characters aren’t. Siena Forest and Bergen Baker create memorable characterizations as Carmen’s rowdy retinue, Forest’s pure soprano soaring above the patter of a lively smugglers’ quintet, Andrew Lovato and Brad Benoit holding up the low end admirably. And conductor Michael Christie and the orchestra take music that borders on the overly familiar and deliver it with conviction while the strong-voiced chorus forms a convincing crowd of unique individuals.
Any significant flaws can be attributed to the opera itself, which tests your capacity for compassion with its opportunistic heroine, abusive hero and no real romance to speak of, just libidos run amok. But the music is so sublime that audiences have been forgiving of that for 140 years now, and Minnesota Opera’s production deserves kudos for developing such an original approach to the work and throwing so much talent and energy into it.
Rob Hubbard can be reached at robhubbard@pioneerpress.com.
What: Minnesota Opera’s “Carmen”
When: 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays; through May 10
Where: Ordway Music Theater, 345 Washington St., St. Paul
Tickets: $200-$23, available at 612-333-6669 or mnopera.org
Capsule: A 19th-century sizzler becomes an ideal opera for the “me decade.”
