Bizet’s Opera ‘Carmen’ Seduces Crowds at Philadelphia’s Academy of Music

There’s no missing exactly who and what have arrived. Vive le stage drop!

“Love is a rebellious bird that no one can tame.” – Georges Bizet, Carmen, Act I

Story, photos by Sharon Kozden – cast photos provided by Steven Pisano for Opera Philadelphia

How is it possible I’ve lived so long without attending an opera? My only awareness of opera came when Glenn Close’s bunny-boiler character in “Fatal Attraction” was obsessed with “Madame Butterfly.” Then there was the ‘Til Tuesday “Voices Carry” video, where Aimee Mann won’t hush-hush at another operatic-looking performance. Yep: my vast store of knowledge in all things opera is formidable, I know. I just always assumed I’d either be bored to tears and fidgety or alternately experience the best nap ever, provided I could somehow sneak into the venue a comfy blanket and a small pillow. I don’t do sitting for long periods of time well, nor could I imagine anything (plot or otherwise) making sense were I not fluent in the opera’s language. But then there’s that notion of a bucket list, and my assignment to cover Opera Philadelphia‘s Carmen at Philadelphia Academy of Music was my list’s check-off chance.

Good gosh, but the Academy is one must-see stunner of a venue. Dunno if they give tours, but I wouldn’t mind returning for one to learn more about its history and architecture. The yearly Academy Ball is another option… the “are you going?” whispered down the Main Line. It’s not looking bloody likely I’ll be in attendance at that prestigious event … not that I’m crying sour grapes nor in my Pinot Grigio over it. I think I chose well.

So Carmen. It was colorful, I’ll give it that. And more. Seriously riddled with intense hues from backdrop to costuming. Credit Gary McCann for the wonderful costume design. Daniela Mack as Carmen was stand-out. Physically, she inhabited every trait I imagined the character would possess: sass, sex appeal, feisty passion and that suffer-no-fools and take-no-prisoners manner of comportment. That’s actually an understatement. Girlfriend manages to get into a fight with another woman, slashing her face with a knife! When the lone man who appears unimpressed by Ms. Slasher’s entrance-the debonair and man-in-uniform Corporal Don Jose (played by tenor Evan LeRoy Johnson)-Carmen doesn’t beat a hasty retreat. Rather, she’s intrigued by his “whatevs” attitude and proceeds to toss a flower his way, singing, “Love is a rebellious bird that no one can tame” a.k.a. the aria famously known simply as the Habanera.

In acts II and III, the drama ensues. If you’re unfamiliar with the plot, I won’t spoil it but will just say the dramatic elements run the spectrum of human emotion and all that can be conjured about what ultimately is a love story at its core. So expect jealousies, fighting over a woman, the Sturm und Drang on the level of a Liz Taylor and Richard Burton romance. Smugglers. Gypsies. Swords. Bickering. Incarceration. With a character such as Carmen, no one is going “gentle into that good night.” Those associated with her can expect behavioral extremes-the woman is two handfuls. That tumultuousness is the last thing I’d want in my life at this juncture; however, it sure was fascinating to view such antics from a distance. Director Paul Curran can be credited and applauded for his vision in bringing the sum total of this gorgeous opera to life at the Academy. Indeed, I would recommend to others with confidence this performance.

The orchestra was fabulous. Conductor Yves Abel was making his Opera Philadelphia debut. No matter that the performance was conducted in French with English subtitles. The music resonated beautifully as often only music can do. Following the plot, however, was a bit trickier. It seemed I had to either read the subtitles or watch the performance. And as we humans cannot multitask (it’s been scientifically proved) despite that we believe we can, I chose to switch back and forth in the hopes of somehow making sense. That finally got on my nerves, so I simply watched and enjoyed the stage action, subtitles be damned. What I missed, I’d figure out later. I could “Google it,” but could never recreate the scene unfolding before me.

A few words on Georges Bizet, Carmen’s composer, who was born in my favorite city in the world, Paris. He shared a Van Gogh-like ending as regards his career and death. When Carmen (set in Seville) previewed in 1875, both audiences and critics delivered a “hostile reception.” Poor Bizet died three months later at the age of 36 (infected lymph node), and you can imagine the rest. Sure enough, Carmen was viewed worldwide and returned to its Parisian home victoriously, after which it stood the test of time and is loved to this day.

Now having seen my first opera, I-like Carmen-am not to be messed with. After all, I know what an aria, a libretto and a dramaturg are. Moreover, no bunnies were boiled in the making of my learning.

See what’s showing now and what’s ahead by visiting operaphila.org.

Sharon Kozden arrives dressed in her “Carmen”-like best at the impressive venue … Philadelphia’s Opera home, The Academy of Music.

Gloriously gilded and ornate lighting fixture stops me in my tracks.

Ascending or descending this staircase-with its vibrant colors and fabulous floral pattern-is a pleasure.

Absolutely mesmerizing chandelier surrounded by fantastic imagery, which I’m sure tells a story. I need a guided tour of the Academy one day to learn more about its history and stunning interior décor.