Wednesday, February 11, 2015
carmen at the portland opera
We had fantastic seats for The Portland Opera's dress rehearsal for Carmen at the Keller Auditorium. Front row, pretty much center in the first balcony. Perfect to get a wide view of the action and great for my date for the evening, a friend who's a musician, because we also had a great view into the orchestra pit. Waiting for the performance to start, we were talking his expertise: percussion, tympani, the exactness of rhythm. He told me of the importance of the tambourine. He gave me beautiful insights into, and way heightened my appreciation of the triangle. Seriously. When the show started my body plugged into the current of that rousing first overture and ran circuits directly to the gorgeous little ping of the triangle and the smash of the cymbals.
I'd never seen Carmen all the way through but after having supered in The Portland Opera's last production of Carmen, this show felt equal parts completely new to me and like an old friend. I knew the story inside and out and not at all. Not, at least, as a viewed-in-chronological-order thing. Seeing it this way, from the outside, all the way through, with those gorgeous sets and costumes and lighting, wow what a show.
Even though it was dress rehearsal, the singers were for the most part singing full out, and beautifully. I thought Sandra Piques Eddy's rich, hefty mezzo fit Carmen's role really well. All the singing was beautiful, particularly Chad Shelton's Don José - and the fabulous chorus whose voices filled the Keller up. It's a production all about bigness - all those voices, the lovely sets, the added touches like the flamenco dancers (who did a fabulous percussive turn during the changeover from act three to act four). There's also a whole lot of sexy in this production. Sandra Piques Eddy is very sexy as she taunts Don José, particularly in a moment when she's sprawled out on the steps of the factory, tied at the wrists, a prisoner who's nevertheless turning that rope into something extremely seductive.
Of course, my star of the show, or at least the performer I'd really come to see, was Stephen, who got to super in this production (his second Carmen) (jealous). When the solders came marching down the ramp from the top of the stage in their big hats and orange plumes, both my friend and I leaned forward in our seats, trying to spot which one was Stephen. He'd told me his was the only hat with a brass button on it, and yep, there he was: I could see that button flashing into the balcony.
But I would have had an absolute blast at Carmen had I not had a husband in the show. It's a huge, gorgeous, beautifully sung, beautifully played, beautifully staged production and of course one of the most accessible operas in the world to boot.
There are two performances left: Thursday and Saturday. More info is here. If you go, look for a brass button and listen for the triangle.