Carmen in Spanish, Martinez Opera, March 12 2011

This performance might be better described as “Scenes from Carmen, in Spanish.” The production was advertised as the first ever of Carmen in Spanish, based on the inability to find a Spanish translation locally, or in the libraries of Paris, or in the libraries of Madrid. Lacking such a resource, Cesare Curzi made his own singing translation. To this listener, possessing the scantiest possible knowledge of both French and Spanish, the translation worked. I did catch the word “muerta” (death) rather than “mort” and a few other Spanish words, but primarily it was Bizet’s music that came across.

The production was a simple one, with eight singers, a children’s chorus, a piano, and two dancers. With no Zuniga, Morales, or chorus of cigarette-factory women, the first act comprised the children’s chorus, the Habanera, the Don Jose-Micaela duet, and the Seguidilla. The remaining acts were similarly cut. Between musical selections, Curzi summarized the action for us. There was no set, just five wooden chairs arrayed at the back of the stage, and a projection of a red rose on the back stage curtain. In contrast to some concert performances, where it is literally stand and sing, we did have acting. Carmen threw a flower at Don Jose; her hands were tied during the Seguidilla; Carmen, Frasquita, and Mercedes had tarot cards in act 3; in the finale Don Jose “knifed” Carmen with a thrust of his fist, although she remained clutched in Don Jose’s arms rather than falling to the ground.

Our cast:
Carmen: Cybele Gouverneur
Don José: Antonio Nagore
Escamillo: Adam Meza
Micaela: Ariel Pisturino
Frasquita: Aimee Puentes
Mercédès: Jennifer Panara
Remandado: Gustavo Hernandez
Dancairo: Sepp Hammer
Director/Translator/Narrator: Cesare Curzi

The production was modest, as were the results. Gouverneur, Puentes, and Panara were acceptable as the gypsy women. Nagore has a large voice, but he lacked subtlety and came close to cracking on several occasions. Meza displayed the same commanding stage presence that he did in his recent appearance in San Jose as Figaro in The Barber of Seville, but his voice could use more character. Hammer struggled with his part. The best singing was provided by Pisturino, whose third act Micaela aria continues to pop back into my head.

The most notable performance of the evening was contributed by one of the dancers. A man and a woman (unfortunately, I did not get their names) danced in Lilias Pastia’s tavern and during the entractes to act 3 and act 4. The man was a superb dancer, with total control over his motions. I know about as much about ballet as I do about French and Spanish, but I could certainly stand to see more dancing of that quality. Nevertheless, the entire performance rates no more than a gamma.