Newspaper Article 1993 – ‘Carmen’ a feast for opera-lovers

‘Carmen’ a feast for opera-lovers

Carmen, Hawke’s Bay Opera, Hastings Municipal Theatre, April 27, 29 and May 1.

It’s great to have opera time coming round again. Hawke’s Bay does well in musical comedies and operetta, but real opera – that is much harder to come by.

We opera-lovers have a good deal to thank Hawke’s Bay Opera for. Its productions are strong, well-directed and presented and admirably sung. The problem is that, like Oliver Twist, we always want a little (or a lot) more, and opera is a very expensive and time-consuming art.

In choosing Bizet’s Carmen for performance this year, Hawke’s Bay Opera’s hierarchy not only gave us a strong and popular musical treat, but obviously occupied a large number of people in its preparation.

Keith Brazier’s dramatic scene designs had to be built, costumes hired and made, lighting set up and designed, make-up put on, wigs and hairstyles arranged, chorus people and principals rehearsed, musicians selected and rehearsed and supper provided. It is a considerable list, and that without mentioning the attractive theatre decorations that greeted the full house at last night’s first performance.

Richard Campion’s production is dramatic, strong and exciting. Not only well sung but acted with conviction and vitality, as the hot-blooded drama sweeps to its inevitable end. With Keith Brazier’s very effective scene design, the opera was visually exciting too, obviously impressing last night’s full house with its towering monolithic effect.

Shirley Jarrett’s choreography fitted well into the production, neatly suggesting Spain without being heavy about it, or incorporating obvious set pieces.

The decision to use the original spoken dialogue instead of the usual recitative was an interesting one, almost seeming to make a link-enhanced by some of the almost “patter” numbers – with operetta.

Carmen is unusual also in having a mezzo soprano in the lead and here local singer Phillipa Reade really shone, splendidly larger than life, all fire and provocation. Her rich, supple voice was admirably suited to Bizet’s songs and her almost aphrodisiacal movement was eloquent on its own in a performance of real excitement.

Howard Spicer’s fine voice was heard to advantage as the tormented Don Jose. His almost smug first scene contrasted admirably with the tormented lover of later as infatuation deepened and principles fled.

He was, at times, inclined to be a little stiff in movement, but this fitted neatly in to the character the Act 1 duet with Gaye Carrington-Smith’s charmingly naive and staunch Michaela had great charm as well as pathos.

Ms Carrington-Smith made a strong and delightful character of the little country girl and sang expressively and with sensitivity.

Iosefa Enari was a disarmingly likeable Escamillo, giving humour and humanity to a part which sometimes appears the nineteenth century equivalent of an ego trip. Even his “Toreador” song, usually inclined to bombast, was enlivened with his warm personality.

Jillian Anderson [Anderton] and Tracey Mellelieu gave the gypsies Frasquite and Mercedes strongly differentiated characters, singing sweetly and strongly and a humorous vitality was admirably contributed by Hamish Morrison’s Remendado and David Skinner’s Dancairo, whose good voices and comic ability were well fitted to their rather sly gypsy characters.

Alex Burns of the mobile face and considerable acting power gave a neat characterisation of Lieutenant Zuniga with his eye for an attractive girl and Wayne Lister’s slyly comic innkeeper, Lillas Pastia, was a nice cameo. Michael Hewitt’s impressionable Morales was another effective scene.

That vital group, the orchestra, upon which much depends, like the cast, was drawn from a number of directions, and under the baton of well-known conductor Alan Foster, performed with distinction. It was interesting to hear the unusual sound of the harp adding to the effect as well as what must surely have been a tambourine.

Keith Brazier’s towering sets added local colour and a great deal of atmosphere and worked well for the performers. A rather marked difference in rock formations in Act 3 was mildly irritating, but the total effect was strong and effective and added greatly to the Spanish ambiance.

Costumes, in the main, were effective and added local colour. One or two, however, seemed to have crept in from another show and did not blend well, setting up a minor irritant for the eye. Why did Don Jose wear an incongruously neat modern suit in the final scene, though?

Last, but by no means least to be applauded, was the well-drilled group of “urchins” who had great audience appeal and all the charm and more that such groups usually dispense. The well known stage saying “never act with children” was once again proven true, as the young performers consistently stole the scene to great effect.

The chorus work, both in characterisation and strong vocal effect was more than impressive as the group revelled in its hot Spanish ambience. Deborah Percy as the victim of Carmen’s temper, Manuelita, was strong in her impressive short scene.

Even to a nit-picking critic, this was a great night – a total experience. The season, as usual, does not seem long enough, but anyone wishing to try the operatic experience is urged to plunge in to this one. There isn’t long. Sadly, the season ends on May 1 after only four performances.

P.W.