Superb singing makes up for the charm deficit of Met’s gritty, Southwest “Carmen”
Carmen returned to the Metropolitan Opera on Sunday afternoon with a high-octane cast headed by Aigul Akhmetshina in the title role, taking over the role from Isabel Leonard, who headlined the fall revival. Akhmetshina starred in the New Year’s Eve 2023 premiere of Carrie Cracknell’s updated rodeo-style production. The Russian mezzo-soprano proved even more impressive the second time around.
If you can accept the updating from early nineteenth-century Seville to a modern-day American industrial town, Cracknell’s cowboy-culture concept works on many levels. It is, however, almost entirely devoid of charm.
Instead of cigarette girls, the women work in an arms factory. Tractor-trailer trucks feature heavily. After convincing Don José to free her, Carmen and her friends Frasquita and Mercédès commandeer one and ride off. Another serves as Lillas Pastia’s Inn, while yet a third, flipped on its side and burning, is the focal point of the gun runners’ mountain hideaway.
The final act takes place at a rodeo, rather than a bull fight, and is the most successful. Instead of toreros entering in glittering costumes, the crowd is entertained by rodeo clowns. Glaring red and white lights heighten the excitement. Don José kills Carmen with a single, swift, horrifying swing of a baseball bat.
Devoid of mantillas and at least a soupçon of glamour, Cracknell’s Carmen is a pretty, gritty affair. Carmen’s fringed outfit in the final scene is sexy and stylish. Escamillo, whether in a black leather jacket or rhinestone cowboy garb, complete with a ten-gallon hat, also ups the ante. The rest of the costumes could have been bought off the rack at a big-box store. The dancing during the merry-making in the truck doing duty as Lillas Pastia’s Inn is simply depressing.
The music elevated the performance. Pier Giorgio Morandi, conducting his first Carmen of the season, mined all of the color and excitement of Bizet’s score from the orchestra and chorus. As for the principals, the Met’s motto this season is “The Voice Must Be Heard,” and this cast proved the point.
Akhmetshina possesses a captivating stage presence, exuding sensuality and charisma. Few singers could sport leg tattoos and wear turquoise-colored cowboy boots with such style and confidence. Her voice can be sinewy and seductive, as in her alluring Habanera, or cavernously rich in the Card Scene. The secret of Akhmetshina’s success in the role is that her Carmen is both believable and likable. Leaving no doubt as to why she is a man-killer.
Michael Fabiano, who has been singing Don José for most of the run, was in clarion voice. He can hurl out high notes with the best of them, but is also capable of effective, subtle gestures, as proven by the stunning sotto voce he employed at the end of the Flower Song. His Don José is a complex man, torn between duty and passion, often in need of a swig from his flask for fortification.
Christian Van Horn, exuding machismo, made his role debut as Escamillo. Dramatically, Van Horn was a bit wooden, but he will undoubtedly ease into the production. Vocally, he was in fine shape, delivering a ringing Toreador Song. All the more impressive, as he is simultaneously singing Giorgio in the Met’s new production of I Puritani, including The Met: Live in HD broadcast of Bellini’s opera the previous day.
As Micaëla, Janai Brugger embodied decency and devotion. Her creamy soprano and passionate singing made “Je dis que rien ne m’épouvante” the emotional high point of the performance. The tender feelings she expressed were heightened by the fine horn playing in the orchestra.
Susanne Burgess’ Frasquita and Briana Hunter’s Mercédès were spirited and compassionate. There was little lightness and sparkle on stage, as opposed to the sounds coming from the pit. What was, came from Eleomar Cuello’s Le Dancaïre and Aaron Blake’s Le Remendado, with voices as winning as their smiles.
Carmen runs through January 23, with Derrick Inouye conducting the final performance. metopera.org
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