The North Carolina Opera Delivers a Sizzling, Complex "Carmen"

Eric Taylor and Gina Perregrino star in the North Carolina Opera's Production of Carmen. Production photos by Eric Waters.

Georges Bizet’s Carmen, based on the novella by Prosper Mérimée and onstage now with the North Carolina Opera, has had quite the interesting trajectory. When it was first performed in 1875, audiences were left scandalized, largely because of the dark themes in Henri Meilhac and Ludovic Halévy’s libretto. Today, the opera, which has since become one of the most well known, still feels a bit scandalous, but for different reasons. The violence and control that mark Carmen’s relationship with her lover, Don José, are startling and yet, sadly, not out of the realm of reality. Fortunately, this fresh, illuminating production, beautifully directed by Denyce Graves-Montgomery, is careful not to celebrate the toxicity. Instead, it illuminates the harm that seeking power for power’s sake can cause and paints Carmen herself as imperfect but still deserving of authentic love.

From the very first act, set designer Steven Kemp brings to life the dusty streets and stone walls of Seville, while lighting designer Ross Kolman carefully highlights each major player in this rapidly-unfolding story. The first characters in focus are the sweet, lovely Micaëla (Elana Gleason) and Corporal Moralès (Yazid Gray), whom Micaëla speaks with in an effort to find her (somewhat unrequited) love, Don José (Eric Taylor). What follows is a bouncy, fun musical moment, made complete by Joseph Mechavich’s energized conducting, as Moralès attempts to coax the too-clever Micaëla into the guardhouse. This is also the moment when Gleason’s melodic and soaringly hopeful soprano, which she graces the audience with throughout the production, first becomes apparent. Her voice is the perfect counterbalance to Gray’s playful, resonant baritone, and both performers play the scene with infectious humor and charm.

The levity continues as the fiercely independent Carmen (Gina Perregrino) catches the attention of Don José and ropes him into a dangerous little trick that ensures her continued freedom. From there, though, the opera takes a major tonal shift, which Mechavich’s balanced baton handles with perfection. In fact, the production itself moves slowly into more tense territory, shifting away from brightly-lit streets and charming singing children to purple skies and open air that feels rife with apprehension. And yet, each moment, no matter how dark, is also beautiful, marked always by sweeping, all-encompassing music and masterful voices.

Perregrino’s sultry, smoky mezzo-soprano conveys all the allure of the feisty, unforgettable title character, and she has just the right look for the role as well. With her long dark hair and bright red lips, she brings a wonderful mystery to every song and step. Additionally, Howard Tsvi Kaplan’s “Carmen” costumes—which range from rich burgundies to deep purples and, finally, lacy black—add the perfect aesthetic and appeal for each changing moment.

Like Carmen, Don José is tempestuous, and Taylor’s full-bodied, assured tenor captures every  shift. As the character moves from likeable and besotted to scary and possessive, his voice takes on new and sometimes frightening depths. Opposing him for Carmen’s affection is the daring Escamillo, brilliantly evoked by Laureano Quant’s sexy, charismatic baritone.

As these characters wind their way toward their ill-fated ends, choreographer Marcelo Martinez weaves in moments of sheer beauty. Dancers Marcelo Martinez and Megan Jones-Medford deliver a haunting, gorgeous pas de deux at the top of Act III that adds a new and unexpected layer of grace and beauty into the production. And, speaking of choreography, Jeff A.R. Jones also deserves applause for his exciting, energy-filled fight scenes. 

This is one opera that has it all. There’s humor—nothing can top Frasquita (Gretchen Bruesehoff) and Mercédès (Sarah Neal) singing "Trio des Cartes" in their bright, twinkly soprano and mezzo-soprano voices. There’s also eerie foreshadowing, a tumultuous love affair, and all the danger and intensity imaginable. In short, it’s a wonderful production, packed with mystery and mayhem, while still managing to turn a modern eye to the severity of its themes. A perfect pick for fall, this is one production that mustn't be missed.

One production of Carmen remains, and tickets are available here.

-Susie Potter