After its scheduled star Denyce Graves withdrew less than two weeks before the opening, seeing just what the cards held for Opera New Jersey's production of Carmen was a draw in itself. As they revealed themselves during Sunday's performance at the New Brunswick State Theatre, it was clear that fortune had smiled.
Stepping in as Bizet's Gypsy on short notice, much-acclaimed mezzo-soprano Kirstin Chávez provided a vibrant, original interpretation and spellbinding singing. Her Carmen was magnetically vivacious and gleefully aware, her sexual power inevitable rather than forced or overly predatory. Even in her cruelty and caprice, she seemd a real, vulnerable character. She also displayed a seductive, extroverted tone that balanced sparkling clarity and earthiness, like a garnet.
An equally intruiging discovery was Caitlin Lynch, whose generous, healthy soprano ideally suited Micaela's rosy-cheeked purity and who showed gratifying connection to the text with organic, beautifully shaped phrases.
While these two company debutantes are the foremost reasons to see this Carmen the production is also innovative and approachable. While adhering to traditional setting and dress, director Bernard Uzan streamlined the work in a creative, fitting way for the travelling show, which was presented in collaboration with the New Jersey Symphony Orchestra and the New Jersey Performing Arts Center. The production appears at NJPAC tomorrow before moving on to Baltimore's Lyric Opera House on Sunday.
In Uzan's concept, the chorus watched from arena-style seats above the stage, as though they were a crowd at a bullfight. Their music was intended to match up with the sinuous movements of dancers on stage, attractively choreographed by Peggy Hickey.
If occasionally the disembodied voices didn't quite mesh with the drama, Uzan's staging was still often noticably musical, drawing attention to the composer's talent for creating character and suspense while keeping melodies so tuneful that it all seems so effortless.
He and the cast benefitted from the supportive, receptive performances of the NJSO and conductor Joseph Rescigno. As Carmen consorted with her friends in Act II, the bustling tempo and the superb vocal blend made this scene a highlight.
In supporting roles, soprano Sarah Callinan as Frasquita, mezzo-soprano Carla Dirlikov as Mercedes, and baritone Steven LaBrie as Morales begged more stage time with fresh, well-produced sounds and dramatic ease.
Effective but less distinctive performnces could be heard from the male leads, including baritone Luis Ledesma, who sang the torreador Escamillo with essential swagger and vocal command, and Richard Leech as Don Jose.
A scrim that isolated Leech from the rest of the action during arias drew attention to his robust tenor and ardent, crazed desire, but also his tendency to over sing. Still, his final scene with Chávez could not have been more gripping.
