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105 of 111 people found the following review helpful
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When Peter Gelb announced a new production of Carmen for the 2009-2010 Metropolitan Opera season, the original cast was to have been the husband and wife team of Angela Gheorghiu and Roberto Alagna. Then before the 2009-2010 season started, Angela Gheorghiu and Roberto Alagna had a very well-publicized split, and Gheorghiu cancelled her performances as Carmen. Alagna stayed in the production, and Peter Gelb quickly replaced Gheorghiu with the fast-rising Latvian mezzo soprano Elina Garanca. Mariusz Kwiecien was the original Escamillo in the run of Carmens, but on the day of the HD broadcast he cancelled as well, so Teddy Tahu-Rhodes stepped in his place.
For a production that had so much cast shuffling, the HD broadcast that is now on DVD is a remarkably cohesive performance. Elina Garanca's voice is not what you'd expect for a Carmen -- it's cool, with a slightly icy edge to it. When she first steps onstage (or actually, in this production, climbs out of a trap door), she's wearing an unflattering curly dark wig and a plain raggedy dress, and doesn't seem overtly sexy. She doesn't do the typical Carmen hip sashaying, and coldly stares down all the men before beginning the famous "Habanera." But the more I watched Garanca's performance (and I saw it live, too) the more I appreciated how well-thought her interpretation was. Carmen's coldness and elusiveness became part of her sex appeal. Her Carmen is the ultimate "belle dame sans merci." In the last scene of the opera, she stands almost like a statue as Don Jose begs and pleads. Garanca's voice itself is her greatest asset. It sounds like a beautiful column of sound, completely even throughout its range, and she even includes the trills written in Bizet's score.
Roberto Alagna's Don Jose is cut from a different cloth than Garanca's Carmen. Alagna is now middle-aged and, in closeups, a bit pudgy and tubby, but onstage he's still as boyishly eager as ever. It's both his greatest strength and his biggest limitation. He makes Don Jose a sympathetic character, a sweet boy led astray, but in the later acts of the opera when Don Jose's character takes a much darker turn, Alagna isn't quite as believable. His comfort with the French language, and the intensity with which he always throws himself into any role is much appreciated. Vocally, Alagna had some rough patches (including a crack on the B-flat in the Flower Song) on the HD broadcast that were "smoothed over" by the time this Carmen was broadcast on PBS. He still has a tendency to sing sharp and under pressure his voice can sound harsh. Overall, I think Alagna is one of those singers that needs to be heard and seen, instead of just heard over the radio.
Barbara Frittoli is the Micaela. Traditionally this has been considered a "boring" role and Frittoli unfortunately falls into all the "boring role" traps. She shuffles onstage, she stands around and make sad eyes, she sings her boring duet with Jose, she sings her pretty aria, she leaves. Her voice has a slow vibrato that in a few years could verge on a wobble, but the actual timbre remains pleasant. Teddy Tahu-Rhodes I thought was an improvement over Kweicien vocally, but he too fails to make much of an impression as Escamillo. I have a friend who told me that Escamillo is a role that promises more than it delivers, and I have to agree. Very few baritones can successfully pull off the dashing toreador without descending into camp. One great thing about this Carmen production was the energetic, almost frenetic conducting of Yannick Nézet-Séguin, who treats the score as a big steam engine, and brings a definite vitality to this often overplayed score.
The production by Richard Eyre is what I'd call a "non-update update." It updates the scene to Franco's era, which gives the soldiers more modern-looking costumes, but does not change the story or basic theme of Carmen at all. Don Jose is still the soldier gone astray, Micaela still the good "hometown girl," Carmen still the femme fatale gypsy. The women wear long skirts and dresses and have long hair. Eyre's set is a turntable yellow brick set that with the right lighting and slight changes in decor suggests the different scenes of the opera. The only misfires: the orchestral preludes have rather uninspired choreographed dances by Christopher Wheeldon, and the final scene is that of a massive slaughtered bull. Don Jose and Carmen are rotated offstage to the scene of the bull. I think this is wrong because Bizet deliberately made the last scene of the opera all about Carmen and Don Jose, and for Eyre to change the focus so suddenly seems wrong. Plus, the huge wooden bull gives the viewers a rather campy last impression. Overall, though, this is a handsome production that should be able to withstand many revivals and cast changes.
For a production that had so much cast shuffling, the HD broadcast that is now on DVD is a remarkably cohesive performance. Elina Garanca's voice is not what you'd expect for a Carmen -- it's cool, with a slightly icy edge to it. When she first steps onstage (or actually, in this production, climbs out of a trap door), she's wearing an unflattering curly dark wig and a plain raggedy dress, and doesn't seem overtly sexy. She doesn't do the typical Carmen hip sashaying, and coldly stares down all the men before beginning the famous "Habanera." But the more I watched Garanca's performance (and I saw it live, too) the more I appreciated how well-thought her interpretation was. Carmen's coldness and elusiveness became part of her sex appeal. Her Carmen is the ultimate "belle dame sans merci." In the last scene of the opera, she stands almost like a statue as Don Jose begs and pleads. Garanca's voice itself is her greatest asset. It sounds like a beautiful column of sound, completely even throughout its range, and she even includes the trills written in Bizet's score.
Roberto Alagna's Don Jose is cut from a different cloth than Garanca's Carmen. Alagna is now middle-aged and, in closeups, a bit pudgy and tubby, but onstage he's still as boyishly eager as ever. It's both his greatest strength and his biggest limitation. He makes Don Jose a sympathetic character, a sweet boy led astray, but in the later acts of the opera when Don Jose's character takes a much darker turn, Alagna isn't quite as believable. His comfort with the French language, and the intensity with which he always throws himself into any role is much appreciated. Vocally, Alagna had some rough patches (including a crack on the B-flat in the Flower Song) on the HD broadcast that were "smoothed over" by the time this Carmen was broadcast on PBS. He still has a tendency to sing sharp and under pressure his voice can sound harsh. Overall, I think Alagna is one of those singers that needs to be heard and seen, instead of just heard over the radio.
Barbara Frittoli is the Micaela. Traditionally this has been considered a "boring" role and Frittoli unfortunately falls into all the "boring role" traps. She shuffles onstage, she stands around and make sad eyes, she sings her boring duet with Jose, she sings her pretty aria, she leaves. Her voice has a slow vibrato that in a few years could verge on a wobble, but the actual timbre remains pleasant. Teddy Tahu-Rhodes I thought was an improvement over Kweicien vocally, but he too fails to make much of an impression as Escamillo. I have a friend who told me that Escamillo is a role that promises more than it delivers, and I have to agree. Very few baritones can successfully pull off the dashing toreador without descending into camp. One great thing about this Carmen production was the energetic, almost frenetic conducting of Yannick Nézet-Séguin, who treats the score as a big steam engine, and brings a definite vitality to this often overplayed score.
The production by Richard Eyre is what I'd call a "non-update update." It updates the scene to Franco's era, which gives the soldiers more modern-looking costumes, but does not change the story or basic theme of Carmen at all. Don Jose is still the soldier gone astray, Micaela still the good "hometown girl," Carmen still the femme fatale gypsy. The women wear long skirts and dresses and have long hair. Eyre's set is a turntable yellow brick set that with the right lighting and slight changes in decor suggests the different scenes of the opera. The only misfires: the orchestral preludes have rather uninspired choreographed dances by Christopher Wheeldon, and the final scene is that of a massive slaughtered bull. Don Jose and Carmen are rotated offstage to the scene of the bull. I think this is wrong because Bizet deliberately made the last scene of the opera all about Carmen and Don Jose, and for Eyre to change the focus so suddenly seems wrong. Plus, the huge wooden bull gives the viewers a rather campy last impression. Overall, though, this is a handsome production that should be able to withstand many revivals and cast changes.
58 of 65 people found the following review helpful
Amazon Verified Purchase
I can make this review real simple: it is the BEST Carmen I've ever seen and our HD audience all felt the same way. In talking to my opera friends (who also have seen many Carmen productions) they all, without exception, said it was the best production they have ever seen. I thought all sang very well with Garanca OUTSTANDING as Carmen in every way. Not sexy? The heck she wasn't sexy! I also thought the video quality was excellent and should be a treasured DVD. This is a perfect Christmas gift for people who haven't gotten hooked on opera yet - this DVD just might get them hooked. Alagna was fine throughout (he had a cold which could explain his b flat in the Flower song) and his acting and hers in the final scene was more intense than any I've ever seen. He actually had tears streaming down his face. Her death scene was totally believable. Difficult to imagine how hard it was for these two to go through the action and sing at the same time in this final scene. I loved every minute of it and saw it several times. I highly recommend this as one of the best opera DVD's available! The entire cast was excellent! Unlike the other reviewer, I liked the ballet and the bull. One of the best touches was Don Jose putting the ring on dead Carmen's finger. That was chilling! If you haven't seen this Carmen, do yourself a favor and order the DVD.
42 of 47 people found the following review helpful
Amazon Verified Purchase
I saw this production when PBS showed it as part of the "Great Performances at the Met" series. I had seen New York Magazine's review of the production headlined, "After 24 Years, the Met Finally Has a Great 'Carmen' Again," but was skeptical. Over the years, I have heard about many productions that would finally be great, but always felt like something was lacking. This production simply did leave all the others behind.
One of the shortfalls of many Carmens is the performance of Carmen herself. It is a challenging role that requires so much of a soprano, and few are able to meet the vocal and physical requirements. In order for the role to work, the audience must believe that Carmen is so unbelievably desireable that she can cause men--any man she chooses--to throw away everything in life just to have a chance to be with her. Ms. Garanca is one of a very few sopranos ever who can convey that degree of desireability.
While the roles of Don Jose and Escamillo are not performed as ably as Ms. Garnaca's Carmen, that does not detract from the production. For one thing, her setting of the bar is unbelievably high. The two male leads do well with their roles--though Don Jose is better performed on this night. Neither of them do anything that should spoil the performance for the casual opera fan.
The orchestra, lighting, sets, and costumes are up to the normal Met standards--that is to say, very strong.
If, like me, you have seen several productions of this opera without really loving it, give this one a try. It may not turn "Carmen" into one of your favorite operas, but it will change the way you think of the opera forever.
One of the shortfalls of many Carmens is the performance of Carmen herself. It is a challenging role that requires so much of a soprano, and few are able to meet the vocal and physical requirements. In order for the role to work, the audience must believe that Carmen is so unbelievably desireable that she can cause men--any man she chooses--to throw away everything in life just to have a chance to be with her. Ms. Garanca is one of a very few sopranos ever who can convey that degree of desireability.
While the roles of Don Jose and Escamillo are not performed as ably as Ms. Garnaca's Carmen, that does not detract from the production. For one thing, her setting of the bar is unbelievably high. The two male leads do well with their roles--though Don Jose is better performed on this night. Neither of them do anything that should spoil the performance for the casual opera fan.
The orchestra, lighting, sets, and costumes are up to the normal Met standards--that is to say, very strong.
If, like me, you have seen several productions of this opera without really loving it, give this one a try. It may not turn "Carmen" into one of your favorite operas, but it will change the way you think of the opera forever.
Most Recent Customer Reviews
Welcom to wrestling version of carmen
This is the worst version of carmen i have ever seen .dresses and chorio bad, to much wresting , pushing in the whole opera.
Best mets production of carmen was on 1997 . Read more
Best mets production of carmen was on 1997 . Read more
Published 1 day ago by P .yalzadeh
A bewitching Carmen
Elina Garanca is the superlative Carmen. Her singing and superb characterization will leave you spellbound, both speachless and frenzied with excitement. Read more
Published 1 month ago by T. A. Widman
Bizet: Carmen, 2010
Fantastic! I usually dislike modern versions of older operas, but the singing is so good, one forgets to look for details.
Published 2 months ago by J. Inanchy
Good introduction to the world of Opera.
If someone is interested in Opera, but they don't know where to begin, start with "Carmen" "Carmen" will draw you in and give a taste of what Opera really. Read more
Published 2 months ago by Jose J. Hill
The best "Carmen" ever.
The young and beautiful Elina Garance was the perfect casting for the role of Carmen in this Met Opera production. Read more
Published 2 months ago by al from Lamanca
Garanca Best Carmen Ever
I have seen a lot of Carmens in my 65 years..............Miss Garanca's is the best I have ever seen. Sexy, cool, and wicked....the way she should be portrayed. Read more
Published 2 months ago by Phillip
Fabulous Carmen by The Metropolitan Opera
I saw this performance on PBS and fell in love with it. I had never heard of the principle singers before but I will be sure to look for them in other operas. Read more
Published 4 months ago by Memamonster
Micaela more sensual than Carmen!
I'm not surprised that this production has had so many positive reviews. I am surprised that so many think it is the best Carmen ever. Read more
Published 4 months ago by Thomas E. Ascher
Searing: A Carmen for the 21st century
Carmen's melodies are legendary. I can enjoy them while doing housework. This Carmen is also a searing drama. Garanca plays Carmen with a red-hot sexual intensity. Read more
Published 5 months ago by D. Layman
BRAVA
Elina and Roberto are riveting. I watched the opening night performance at The Met on screen and was blown away by the passion, beauty and style of the performers, even with the... Read more
Published 7 months ago by Patricia J. Coffman
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