Music Director Joseph Marcheso stored the orchestra pretty neat, just a few moments right here and there have been off-kilter. The brass had been clear and the woodwinds pretty.
The set is clear, stairs and a collection of arches for essentially the most half. There have been good particulars, just like the water pump that Carmen washes her ft in throughout Act I. The heavy lifting for the staging was actually within the physicality of the performers, whether or not it was the cute, dimpled Amalinaltzin De La Cruz (pictured in Act II with Eugene Brancoveanu as Escamillo) as Little Carmen or Carmen herself punching Morales within the face.
Probably the most novel a part of the manufacturing was the usage of supernumerary Jim Ballard as Amor Brujo (“Bewitched Love”). We first see him throughout the overture slicing Carmen’s braid, and he pops up all through, ghost-like and looking out extra like a personification of demise than love. He’s fairly a presence and he did many floreos (hand articulations from flamenco) as he moved throughout the stage.
The inclusion of 4 actual flamenco dancers from The Flamenco Society of San José in Act II was actually thrilling, they had been nice.
The Sunday matinée efficiency featured tenor Richard Trey Smagur (pictured with Nikola Printz as Carmen) as Don José, he shares the position with Noah Stewart. Smagur has an open, plaintive sound. Mezzo-soprano Nikola Printz embodied Carmen, their voice is evident and performing very robust. My solely quibble was with their castanet enjoying, it was tentative in comparison with the flamenco dancers. In any other case, it was a fascinating and convincing efficiency, it was apparent why Carmen is so arresting and seductive.
I liked listening to soprano Anne-Marie MacIntosh as Michaëla, her sound is so brilliant and fairly. Baritone Eugene Brancoveanu is interesting as Escamillo, there may be some texture to his decrease vary, however he has heat resonances as effectively.
Bass-baritone Leo Radosavljevic was a contact quiet as Zuniga, the character was handled with a startling brutality by the smugglers, all of whom sounded fairly good, nonetheless. Soprano Teresa Castillo is a saucy, youthful Frasquita and mezzo-soprano Stephanie Sanchez as Mercédès has a definite sound from Carmen. The quintet “Quand il s’agit de tromperie” was pleasantly rounded off by tenor Jared V. Esguerra (El Remendado) and bass-baritone Rafael W. Porto (El Dancaïro). Bass-baritone Peter Morgan (Moralès) has a grainy voice that minimize by the refrain.
* Tattling *
I used to be glad to notice that the California Theatre requires proof of a booster to attend performances. It was completely straightforward to get by the road inside a couple of minutes.
There was some plastic rustling in Row E at the start of the efficiency, however this did subside fairly shortly. Extra annoying was a girl who arrived late after the primary intermission and had the usher get 5 folks in Row C to face up throughout the flamenco dancing to let her to her seat, solely to comprehend this was very disruptive and had her sit in a extra accessible seat in Row B.
However essentially the most obnoxious factor was actually on the finish of the tenor’s Act II aria “La fleur que tu m’avais jetée” when somebody’s Apple Watch pinged their iPhone.