What a pleasant surprise! The last time we saw an adaptation of Bizet's masterpiece was over 5 years ago and it was Peter Brooks' La Tragédie de Carmen. Tact precludes our naming the company that produced a work that we found worthless and insulting to both Bizet and to Merimée, the author of the original story upon which the opera Carmen was based.
We approached La Carmencita with, admittedly, some trepidation. We only agreed to attend based on our admiration for some of the artists. To our delight, the enterprise was not only entertaining but valid in its concept. When we were new to opera, we couldn't understand why this very Spanish work was sung in French. Well, we got to hear it in Spanish and it sang extremely well! Adapted by producer Sasha Gutiérrez (who also translated her Spanish libretto into English for the titles and furthermore sang the role of Micaëla), the 1871 masterpiece was transformed into a Tango opera in one passionate and swiftly moving act. As in Peter Brook's 1981 reinvention, this condensed and telescoped version preserved our favorite arias, ditching the chorus and extraneous characters. But it succeeded where Brooks failed.
The emphasis shifted to the interaction between the four main characters and their intense interaction. Since it is the specifics that involve us in any story, let us describe them. The action takes place in a cafe in Buenos Aires in which Carmen is a featured performer, along with a pair of tango dancers as seen in the photo above. Escamillo is an impresario who promises Carmen professional advancement. Jose is a fan and Micaëla is his novia. The geometry of the plot involves two triangles with Carmen being pursued by two men and José being torn between two women. Jealousy, rage, power dynamics, and passion made for an absorbing story.
The music was provided onstage by pianist Juan Lázaro and bass Pedro Giraudo who created the reduction and also composed the tango music. Other members of the Pedro Giraudo Tango Quartet were bandeonista Javier Sánchez and violinist Nicolás Danielson.
Thankfully, the singers were up to the challenge both vocally and dramatically. This Carmen, mezzo-soprano Melisa Bonetti Luna, was her own woman and delivered the arias we know and love with fine style. The besotted José was effectively portrayed by tenor Juan Hernández. As Escamillo, the formidable guest artist baritone José Luis Maldonado gave a riveting performance. Ms. Gutiérrez' fine clear soprano made for an appealing Micaëla.
The work was effectively directed by Rebecca Miller Kratzer. Costuming was done by Megan Rutherford. The titles fortunately matched the dialogue and were projected in both Spanish and English. We don't know the composition of the audience but we do know that they were vociferous in their applause. Is there room for such adaptations of works in the canon? We think so, as long as the work enhances our understanding of the relationship of the characters and adds a different perspective. When done out of directorial arrogance such adaptations do not work.
This enchanting evening was a presentation of The Opera Next Door which was started by Ms. Gutiérrez four years ago as informal stoop concerts in Brooklyn. Their mission is to bring opera to a broader audience and it seems to us that this was a major step in achieving that mission. The work was produced by Zack O'Farrill, Santiago Gutiérrez, and Felipe Hoyos-González along with Ms. Gutiérrez. She was also joined by Mr. Hoyos for the Spanish adaptation and for the English translation by Ms. Kratzer. It would seem that what we enjoyed so much was a successful collaboration of all the aforementioned people.
© meche kroop
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