Lahyani’s performance, with her throaty sound and slightly gawky yet fierce sensuality, makes a strong case for why that should be OK. (Courtesy Cory Weaver, Minnesota Opera)Ĭarmen just wants the freedom to love how she loves and who she loves, for as long as that love lasts. Maya Lahyani as carmen and members of the Minnesota Opera Chorus in Minnesota Opera’s Carmen. On the other hand, Don José literally ties Carmen up with a rope when he tries to arrest her - an ominous ending to the first scene. Don José meanwhile is overcome by his own emotions and animal instinct. One the one hand, Carmen, played on opening night by Maya Lahyani, is the smarter of the two, equipped with her intelligence, strength and sexuality. These details reinforce the analogy of Don José and Carmen’s relationship with that of a bullfighter and bull, though who is the bull and who is the fighter is a little wiggly. Later, during the bull fight, there are blown up photographs of the toreador in action. The first scene features a giant red door that looks like a matador cape. Riccardo Hernández’s scenic design plays up the bullfighter imagery. But the new freedom, for Don José, is itself suffocating. When Don José (played on opening night by the impressive Won Whi Choi) deserts the army and runs away with Carmen and the Romani travelers, the set opens up to reveal a bright, white light, one that offers new possibilities. The lighting design by Robert Wierzel and Amith Chandrashaker uses extreme breaks between light and dark to show contrasting life choices: freedom on the one hand, and constraint on the other.
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Working with a keen design team, Graves brings a somber, desolate feeling to the piece, full of symbolism.
“Carmen” at the Ordway, performed with a double cast, is a bit of a homecoming for Graves, who performed the title role with Minnesota Opera back in 1991.Īaron Keeney as Escamillo, Maya Lahyani as Carmen and the Minnesota Opera Chorus inMinnesota Opera’sCarmen.(Courtesy Cory Weaver, Minnesota Opera) Rather than minimize the cultural appropriation of Bizet’s music, stage director Denyce Graves leans into the Romani aspect of the plot, highlighting the oppressed group’s humanity by showing their deep sense of community. Infused in the music are elements of Spanish folk melodies and flamenco rhythms, which Bizet uses to establish Carmen’s “otherness” as a Romani woman.
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Carmen’s famous “Habenera,” the “Toreador” melody, and other themes have found their way into the Muppet Show episodes, the Marx Brothers, TV ads, the movie “Up,” and many more.
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Heard trial putting the topic of intimate partner violence in the news, Minnesota Opera’s production (co-produced with the Glimmerglass Festival) of Georges Bizet’s “Carmen” feels particularly timely.Ī brutal story of jealousy and violent misogyny, the tragic opéra comique has some of the most ubiquitous melodies in all of opera, with themes that have permeated modern culture.
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At this time, we are unable to offer ticket refunds.Before there was Johnny and Amber, there was Don José and Carmen, a toxic love that acts as a textbook for how to not have romantic relationships. Sunday, February 27th, 2022 4:00 PM (Limited Tickets Door)Īll patrons attending our performances must wear masks at all times within the performance venues unless otherwise posted. Saturday, February 26th, 2022 4:00 PM (SOLD OUT) Landsdowne Woods Auditorium in Landsdowne, VA
Saturday, February 19th, 2022 4:00 PM (SOLD OUT) Peter's Episcopal Church in Purcellville, VA Unless the show is listed as SOLD OUT, tickets will be available for purchase at the door. Online ticket sales close at 5:30PM the evening before each show. Please find links to individual performance tickets below. Loudoun Lyric Opera tickets can be purchased (25$) through. Shelby Milgram and Pamela Butler, Co-Producers James Campanella, Stage Manager/Fight Choreographer
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