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Kansas City's Online Journal of the Performing Arts

I knew halfway into Saturday night’s first act of the Lyric Opera of Kansas City’s new production of Carmen that I would need to break out the thesaurus to find more synonyms for “sexy” because Sandra Piques Eddy, in the title role, was sex personified.

As Carmen, Eddy played the role as youthfully impulsive instead of worldly experienced. Her portrayal was especially captivating because it contrasted so strongly with Alyson Cambridge’s Micaëla. Eddy’s Carmen was mercurial, active, profane and sultry to Cambridge’s staunch, passive, reserved, and tightly wound Micaëla. Eddy was also the most natural actress on stage. When she sarcastically agreed with Don José that she is a demon, it was delivered more as exasperation in the situation than other productions I have seen; a refreshing change for the traditional portrayal of Carmen as a destroyer of men.

Eddy’s voice was as riveting as her stunning beauty. Her chest voice, especially on the lowest tones, was rich, warm and present. Her vibrato was natural and the pitch was only ever-so-slightly obscured on the very highest notes. In contrast to the other cast members, Eddy delivered her sung lines as if they were dialogue—the embodiment of effortlessness and complete mastery of character, music and drama (and some impressive castanet playing, hip swivels, and full body rolls). Hers was the biggest voice on the stage, a commanding presence most notably on “L'amour est un oiseau rebelled,” “Je vais danser en votre honneur,” and “En vain pour éviter les réponses amères.”

Dinyar Vania’s Don José was an understated portrayal. Although I preferred a more overtly broken-down Don José in his actions, Vania’s voice conveyed the despair that was lacking from character’s physical appearance. A bit shaky toward the end of his aria “La fleur que tu m'avais jetée,” Vania regained his composure and made the fourth act’s mad scene desperate and heartbreaking.

Saddled with the one of the most famous arias, “Votre toast, je peux vous le render,” Marcelo Guzzo’s toreador Escamillo did not portray the swagger and bold confidence required of the character. Adding to this lackluster representation was Guzzo’s subpar phrase control; the lower register phrase-endings were nearly inaudible and unsupported. Alyson Cambridge’s Micaëla was a gentle soul and her delivery was delicate, yet deliberate, and Cambridge made the most out of what really amounts to an inconsequential dramatic character. David Lawrence Michael’s Officer Zuniga was cocky, hunky, horny and confident. Michael walked and sung with authority, an enjoyable embodiment if, at times, overacted.

Of the supporting characters, Jonathan Thomas and Doug Jones as the two smugglers were the strongest because their timbres blended smoothly and supported one another as opposed to the more strident female timbres of Carmen’s friends sung by Amy Cahill and Christina Hager. Stephen Fish’s Moralès opens the opera and then is never heard from again. Fish’s intonation suffered on the covered French vowels, but his voice filled the hall.

The orchestra played well, although the strings were lost in the overture due to the Lyric’s acoustics. I also found the Entr’acte to Act III a might too cloying.

The sets designed by R. Keith Brumley were massive stone edifices and looked solid and appropriate for all four acts—as was the lighting design by Donald Edmund Thomas. Assistant Director Eric Sean Fogel’s choreography was somewhat out-of-context with some of the motions leaning more toward modern dance than traditional Spanish. Unfortunately, there were many noticeable slips by the dancers and the dramatic actions needed to be tightened up. I blame opening night jitters on many of the mistakes and mistimed events.

The Lyric Opera's Carmen is a great introduction to opera for neophytes. This was my concert-going partner’s first live opera and he loved it. I am also attending on Wednesday with two more opera virgins who will undoubtedly be amazed—and rightly so—by one of opera’s most provocative vixens.

So, go for the wonderful story, gorgeous music and feast for the eyes and ears provided by Sandra Piques Eddy and the designers.

REVIEW:
Lyric Opera of Kansas City
Carmen
Saturday, September 25, 2010 at 8:00 p.m. (Reviewed)
Wednesday, September 29, 2010 at 7:30 p.m.
Friday, October 1, 2010 at 8:00 p.m.
Sunday, October 3, 2010 at 2:00 p.m.
Monday, October 4, 2010 at 7:30 p.m. (added performance)
Lyric Theatre
11^th and Central, Kansas City, MO
For tickets call 816-471-7344 or online at www.kcopera.org

Cover photo by Karen Almond.

By Lee Hartman

Editor-in-Chief; Traditional and New Classical Contributor

Lee Hartman holds degrees from the University of Missouri-Kansas City (D.M.A., M.M.) and the University of Delaware (B.M.). At the University of Delaware, he received a Dean's Scholar position enabling him to pursue an individually designed academic program combining music education and composition. At the University of Missouri-Kansas City he served for three years as the Assistant Director to Musica Nova, the conservatory's new music ensemble, while teaching a variety of composition classes.

In 2007 he was invited to both the Iceland Academy of the Arts in Reykjavík, Iceland and the Sichuan Conservatory in Chengdu, China to give lectures and master classes in composition. In the summer of 2009, Hartman served as an orchestra manager for the Aspen Contemporary Ensemble and Aspen Opera Theater Center for various performances. He serves on the National Executive Committee of the Society of Composers, Inc. as Submissions Coordinator. His primary composition instructors include James Mobberley, Chen Yi, Zhou Long, Paul Rudy, John Beall, and Jennifer Margaret Barker. He currently teaches music theory at the University of Central Missouri and general music classes at Park University having previously taught at UD (2007–08) and UMKC (2006–07).

His compositions can be found at http://www.leehartmanmusic.com