REVIEW: Carmen (Lyric Opera)

   

Exquisite performances make a restless ‘Carmen’ shine

 

Katharine Goeldner as Carmen - Lyric Opera - Photo by Dan Rest

   
Lyric Opera presents  
   
Carmen
   
Composed by Georges Bizet
Directed by
Henry Silverstien
Music directed by
Alain Altinoglu
at
Civic Opera House, 20 N. Wacker (map)
through March 27   |  
tickets: $38-$227   |   more info

Reviewed by Barry Eitel

Even though Georges Bizet’s Carmen spawned some of the most recognizable melodies in classical music, it was a complete flop when it premiered in 1875, as critics pronounced it immoral even before it opened. Bizet died soon afterwards, never knowing his enduring popularity. Although considered an “opera comique,” the sensual and tragic love story pretty much murdered the style. The initial run almost bankrupted Paris’ Opera Comique, but Carmen’s influence went much further. The commercially viable, family friendly, yet artistically vapid form of the opera comique was made obsolete by Bizet’s genre-bending themes.

Katharine Goeldner and Yonghoon Lee - Act III of Carmen, Lyric Opera - photo by Dan Rest A straightforward, traditional production, Lyric Opera’s Carmen is simple (or at least as simple as the Lyric gets) and deeply passionate. The focus is on the layered characters of the piece, none of whom is solidly villain or hero—they’re all just human beings. The story, loosely based on a novella by Prosper Merimee, eschews melodrama for moral complexity. Under the levelheaded direction of Henry Silverstein, this story of love—requited and otherwise—remains explosive. Even after nearly four hours of arias, I found myself with plenty to mull over on the way home.

In a Seville filled with soldiers, romance, and pretty girls, Carmen holds the record for most heads turned. She’s a poor gypsy girl, but rich in passion and independence, loving whomever she pleases. Don Jose, a lowly corporal, is smitten by her charms, and Carmen fancies the soldier, too. He even goes to jail for two months, charged with abetting her escape when she is arrested for some local trouble. After his stint in prison, Don Jose gets a little clingy. His attempts to control her does not sit well with the fiery gypsy, who dumps the obsessed lover. Like most stories that start off like this, you can probably guess the ending—homicide, followed by instant regret. In operas, domestic disputes always end bloodier than in reality.

The success or failure of this show depends on the quality of the mezzo-soprano playing Carmen. Due to some medical issues, Katharine Goeldner took over for Kate Aldrich for all of the October dates. I can’t attest to how Aldrich would have performed the role, but Goeldner was delightful. As Bizet’s famous flirt, she’s vivacious and quick. I understand Don Jose’s desire to lock that down. While usually exuding mounds of charm, Goeldner can also key into Carmen’s vicious and irrational side. She has a proto-feminist vision of gender equality, awesome—but she also harbors some wacky, romantic notions, like forcing Jose to desert the army to be with her. Goeldner makes all these layers clear. Her singing was exquisite, especially her “Habanera,” where she coquettishly discloses her thesis on free love (with a wink).

Katharine Goeldner, Kyle Ketelsen in Act III - Lyric Opera Carmen - photo by Dan Rest

Katharine Goeldner and Yonghoon Lee, final scene of Bizet Carmen, Lyric Opera - photo by Dan Rest Katharine Goeldner, Yonghoon Lee - Lyric Opera Carmen - photo by Dan Rest Katharine Goeldner, Yonghoon Lee, Lyric Opera - Carmen - photo by Dan Rest
Kyle Ketelsen as Escamilo, Lyric Opera Carmen - photo Dan Rest Yonghoon Lee as Don Jose in Carmen - Lyric Opera - photo by Dan Rest

Flown in from South Korea, Yonghoon Lee nuances his portrayal of Don Jose with plenty of lovelorn stares and conflicted frowns. He doesn’t match the intense passion of Goeldner in his acting performance, but he still presents a hefty challenge. He also struggles with externalizing Jose’s rage well; sometimes the character’s jealousy comes off as awkward, or just plain silly.

Penned by Henri Meilhac and Ludovic Halevy, the libretto could be better shaped. There are some throwbacks to the opera comique style that are unnecessary, especially in the first act. For example, there is a long number where a pack of children rush on stage and sing about imitating the army. Still can’t figure out a point to that one, besides “who doesn’t love to see kids on stage?”

The final five minutes are breathtaking, a perfect, wretched harmony of sound, image, and content. Out of sight, the chorus faintly sings the praises of a bullfighter, interspersed by the final encounter between Carmen and Don Jose, basked in blood-red light and showered with rose petals. It’s a transcendent moment, one that makes the previous three acts worthwhile.

   
   
Review: ★★★½
   
   

Lyric Opera - Scene from Act I of Carmen - Photo by Dan Rest

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Sanity Break: Most Ridiculous Senior Yearbook Quotes

A senior yearbook quote is supposed to be inspiring, reflective, philosophical, or – at least to the person pictured – extremely “deep”. Perhaps a mantra to help them on their life journey.

But there can also be some total dorks that think of ridiculous quotes to place next to their senior picture.  Here’s a few of the more ridiculous:

     
 

Most Ridiculous Yearbook Quotes 2

 
     
 

Most Ridiculous Yearbook Quotes 7

 
     
 

Most Ridiculous Yearbook Quotes 3

 
     
 

Most Ridiculous Yearbook Quotes 5

 
     
 

Most Ridiculous Yearbook Quotes 6

 
     
 

Most Ridiculous Yearbook Quotes 1

 
     
 

Most Ridiculous Yearbook Quotes 4

 
     
 

 

h/t to Huffington Post

       
       

REVIEW: Blood Wedding (Oracle Theatre)

 

A Spooky Spanish Time at Oracle

 

 

Blood Wedding - Oracle Theatre 2

  
Oracle Theatre presents
   
Blood Wedding
   
Written by Federico Garcia Lorca
Directed by
Ben Fuchsen
Oracle Theatre, 3809 N. Broadway (map)
thru Nov 20  |  tickets: by donation  |  more info

Not often do classic canonical plays get featured as a Halloween fright fest. Yeah, ghosts and witches show up in many lists of characters, but they’re usually too heavily laden with symbolism and plot development to cause any nightmares. So Oracle Theatre is going out on a limb this year with their Halloween offering, Federico Garcia Lorca’s Blood Wedding. The results are mixed. Although Lorca’s lush language evokes plenty of chills, director Ben Fuchsen’s production lacks clarity and cohesiveness.

Lorca, one of the key purveyors of tragedy in the 20th Century, lived a pretty tragic life himself. A gay writer in Spain between the wars, he found himself spurned by men like Salvador Dali as well as facing the stresses of immense critical and commercial success at a young age. He ended up face down in a ditch somewhere, silenced by Franco’s Fascists in 1936. Yet his unsettling plays, many of which seem directly inspired by Sophocles or Euripides, have enjoyed popularity the world over. Blood Wedding is Blood Wedding - Oracle Theatreone of the best known. It follows a pretty standard storyline: longstanding feuds between families, nuptials, infidelity, murder, etc. What makes the piece stand apart is Lorca’s gorgeous poetry and his inclusion of vengeful supernatural forces in this very human story. The Moon, angry that man shuts their windows at night (and therefore shun him), decides to join Death in the manhunt for the runaway bride and her lover. Something much heavier than simple jealousy is going on.

Oracle mines the otherworldly elements of Lorca as much as they can. Instead of a small scene in the latter half of the play, Fuchsen places the Moon (a nearly-nude Justin Warren) and Death (Sasha Walloch clad as a flamenco dancer) in almost every moment. The duo brings a sinister vibe to the whole piece. They conjure all the spookiness in the production, wielding bloody, spine-chilling noises, and frenetic movements.

As their supernatural characters, Warren and Walloch take on all the supporting roles as well. This is where it everything starts to get muddled. We start wondering who is who—is Walloch playing Death now, or a servant woman, or Death pretending to be a servant woman? The concept is engaging, but the execution needs retooling.

The production could really benefit from a plot synopsis in the program. This is due to the fact that the cast focuses on creating atmosphere over storytelling. With its myriad of metaphors, Blood Wedding’s mood is intoxicating, but it’s impossible to stay engaged in that world when you’re just trying to keep up with the story. The style also fluctuates—some actors (like Sarah Pretz, who plays the ominous Mother), stick with heightened realism. Others, Alexander Gerber, for example, who portrays the unwitting (and slightly goofy) Groom, choose to face the audience and speak their lines with an expressionist slant. Both work for the piece, although the realism is far more grounded. The problem is that the stylization isn’t consistent, causing more plot and character confusion.

When you just sit back and let the show flood over you, there’s some great stuff. James Ogden’s gloomy set, consisting of several lacy screens, is appropriately creepy and smartly used. The statuesque Pretz commands the tiny Oracle stage like a captain on a ship. And there were two solid moments that terrorized me. Most of all, Lorca’s tremendous poetic skill, translated here by Michael DeWell and Carmen Zapata, is delicious and heartwrenching all at once.

Oracle is no stranger to the Halloween show. They’ve put up some well-received haunted house-style experiences in the past. I’m not completely sold Lorca can be repackaged as a Halloween treat, but the cast definitely puts forth tons of effort. But with more plot clarity, the production could earn a whole lot more screams.

   
   
Rating: ★★½
   
   

Blood Wedding - Oracle Theatre - poster