The audience responded enthusiastically to the chorus of street children and the pageantry of costumes associated with the bullfight in the final act of the opera. “Micaela’s Air,” sung by the woman Don José has left for Carmen, was delivered poignantly by soprano Vanessa Vasquez.
Filling the room with a grandiose stage presence, he makes his entrance on a white horse and sings the famous toreador song with gusto. She captures all of these moods, subtlety shifting from moment to moment, all the while beautifully singing some of the most famous music of “Carmen”-Carmen’s entrance and the Habanera.īass-baritone Ryan Speedo Greene plays the toreador, Escamillo. Isabel Leonard wonderfully embodies the many and varying moods of Carmen which range from angry to flirtatious, petulant to proud, and scheming to charming. “That flower hit me like a bullet!” he says as he falls for the tempestuous woman. In beautiful voice, his young corporal is average-looking, earnest, passionate, and easily duped-the perfect “everyman.” He is chosen almost at random by Carmen, who throws her famous flower at him. Michael Fabiano, the tenor portraying Don José, plays his role to perfection. However, she ultimately rejects him for a flashier man, driving Don José to a mad passion which permanently changes his life beyond return.He deserts the military, leaves his earlier fiancé, and enters the life of exile from society. …directed brilliantly by Francesca Zambello.Ī free-spirited Carmen, full of a passion which knows no boundaries, ensnares army corporal Don José’s heart. For example, at the beginning of the opera, we see a silhouetted Don José in prison, prefiguring later events. The Washington National Opera followed the general plot faithfully, though also incorporates a few surprises. It is, simply put, men and women at their finest and at their worst. With themes of love, jealousy, and fate, Georges Bizet’s work is both universal and sublime. The Washington National Opera presented “Carmen,” one of the mainstays in the opera repertoire.
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