Opera Review: ‘Carmen’

Sir Richard Eyre’s production of Bizet’s “Carmen” manages to be colorful while eschewing kitsch.
Opera Review: ‘Carmen’
L–R) Shirin Eskandani as Mercédès, Clémentine Margaine in the title role, and Danielle Talamantes as Frasquita in Bizet's “Carmen.” Marty Sohl/Metropolitan Opera
Barry Bassis
Updated:

NEW YORK—Like businesses everywhere, the Metropolitan Opera has to contend with the flu season. The original plan had been to split the performances of “Carmen” between two stars in the title role: Sophie Koch and Clémentine Margaine. Koch had to cancel for health reasons, but fortunately Margaine was available to fill in for her, taking over the entire run.  

The Don José, sung by Marcelo Alvarez, also canceled the first performance, but by the second, which I attended, he appeared, albeit with an opening announcement asking for the audience’s indulgence: he had not yet fully recovered.

Georges Bizet penned one memorable melody after another.
Barry Bassis
Barry Bassis
Author
Barry has been a music, theater, and travel writer for over a decade for various publications, including Epoch Times. He is a voting member of the Drama Desk and the Outer Critics Circle, two organizations of theater critics that give awards at the end of each season. He has also been a member of NATJA (North American Travel Journalists Association)
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