The sweeping, sculptural lines of David Rockwell's set framed the action dramatically, especially when backlit by the rich reds and oranges of Donald Holder's lighting.

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The cast's weak link was soprano Natalya Romaniw, who made a monochromatic Micaela. The ensemble also represented Carmen's animal magnetism, though a dancer portraying a bull who was introduced during the orchestra's prelude and returned at crucial moments did little more than distract.Ĭarmen's fellow smugglers were a vivacious lot: Uliana Alexyuk as Frasquita, Carolyn Sproule as Mercedes, John McVeigh as Remendado and Reginald Smith as Dancaire. In the 'Toreador Song,' he got a boost from the dancers, who generated excitement all around him. Yet as Jose's desperation took over in Act 3, the power and gleam of Jovanovich's voice conveyed his emotions viscerally.īass-baritone Ryan McKinny was a sonorous Escamillo, bringing to Bizet much the same vocal heft he contributed to 'Das Rheingold' as Donner, the god of thunder. In Jose's scene with his hometown sweetheart, Micaela, and in the 'Flower Song' to Carmen, Jovanovich sings with softness and intimacy he is one of the rare tenors to make the stratospheric climactic phrase of the 'Flower Song' taper off pianissimo as Bizet planned. Though Don Jose's jealousy drives the story to its tragic end, tenor Brandon Jovanovich emphasized the soldier's tenderness at the outset. And her intensity during Carmen's fatalistic aria over the tarot cards compensated for the weightiness a mezzo-soprano would have provided.

To cajole Jose into running off with her and her band of smugglers, she exuded allure with lithe singing.

On Friday, Martínez - singing the title role for the first time - embodied Carmen's pride and rebelliousness more than her sexiness. Wednesday, Friday and May 8 and 10, 2 p.m.

Houston carmen opera