![]() ![]() It would be reductive to call Opera Philadelphia’s terrific new production, exceptionally vivid and marvelously sung and acted, “middle of the road,” though in a sense, that’s what it is. But not to worry – the opera works well in any number of configurations. The very French opéra comique Carmen, with its reams of spoken dialogue, has mostly vanished in performance, replaced by a large-format Carmen with sung recits and a more international flavor. Her bright, silvery timbre, perfect French, and crisply elegant delivery opened the door to a whole other tradition. ![]() I came to know and love Carmen first via records (Thomas Beecham with Victoria de los Ángeles, and Georg Solti with Tatiana Troyanos were early favorites), and a real revelation was hearing excerpts from 78s by the great Ninon Vallin. How do you like your Carmen? Mezzo or soprano? Flirtatious? Confrontational? Smolderingly sexy? The role – and Bizet’s opera – contain multitudes.
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