I won’t be seeing the COC’s Carmen until Friday the 5th. To make sure I go in with as many preconceived ideas about it as possible, here are some reviews:
Rinat Shaham is cheerful for someone who has just been thrown into an operatic fire – the Canadian Opera Company’s current Carmen, which runs to Feb. 27.
Then again, fire is what the New Yorker is all about. The dusky timbred mezzo soprano is a popular choice for the title role of a hot-blooded gypsy temptress because she is the whole package.
Big, flexible voice? Check. Sultry looks? Yup. Flashing brown eyes? Got it. She can even dance.
These are substantial gifts for a Toronto production that is musically strong, but visually tepid.
To be certain, mezzo soprano Rinat Shaham sounds the part and even looks it as well — so much so that a few of Francois St-Aubin’s full-speed-ahead-and-watch-those-torpedoes costumes could most definitely be considered lily gilding.
But what director Justin Way fails to grasp in this wooden and too-often self-conscious staging is that, in much the same way as water never has to try to be wet, Carmen as written never has to try to be sexy. And in insisting Shaham wrap and writhe herself around poles and straddle chairs to seduce tenor Byan Hymel’s lugubrious Don Jose and bass baritone Paul Gay’s wooden Escamillo, is a little like using an atom bomb to kill a mosquito.
Israeli mezzo-soprano Rinat Shaham was a stunning Carmen – to see, to hear, to experience dramatically. New Orleans tenor Bryan Hymel turned in a passionate and thrillingly sung Don José. Canadian soprano Jessica Muirhead was a persuasive and touching Micaela. The three, beautifully abetted by the COC orchestra under Scottish conductor Rory Macdonald and the COC chorus trained by Sandra Horst, provided a stirring central musico-dramatic core, which sustained us through this astonishing, beautiful and still-upsetting work.