San Francisco Classical Voice

OPERA REVIEW

Growing into the Space

February 5, 2005

Malin Fritz (Carmen)

Deborah Beriola
(Mica”la)

By Kip Cranna

They're breathing easy at San Jose Opera these days. Midway through the inaugural season in their new home at the ornate and spiffily renovated California Theater, the Company opened a successful new production of Bizet's Carmen on Saturday that made sure to get full use of a roomier stage and pit. It must seem luxurious after years in the tiny Montgomery Theater. With more than double the audience capacity, the ample crowd, too, seems to relish the change, looking satisfied and proud. They also appear to be a decade younger, on average, than the typical patrons at the War Memorial.

For this first-timer's visit to the California Theater, the main gratification was the bright, clear sound coming from the pit, with plenty of warmth and color but with nary a threat of overwhelming the singers. George Cleve, a fixture on Bay Area podiums for decades, let a crisp and pointed style prevail throughout this familiar score, often taking a deliberate pace that refused to get splashy.

Director David Cox had everything in place and told the story in straightforward fashion, using some of the original Opéra Comique spoken dialogue, mercifully trimmed to a few curt phrases. Designer Giulio Cesare Perrone's set is handsome and serviceable, flanked by tall brick- and marble-style sliding panels. The cigarette factory occupies a second floor, reached by stairs, and a walkway that made a handy playing area and provided a nifty entrance for the cigarette girls (safely puffing away on non-toxic herbal cigarets, as we were cautiously advised by a pre-curtain supertitle). The smugglers' cave in Act III featured realistic craggy boulders forming a neatly symmetrical double stairway. Pamila Z. Gray's lighting seemed to be of the “set it and forget it” style, with little attempt to focus on intimate moments. Lilas Pastias' tavern had all the moody atmosphere of a Safeway. Julie Engelbrecth's period costumes worked well.

Warming into the role

In the title role, Malin Fritz got off to a shaky start, perhaps undone by nerves. Both her “Habañera” and “Seguidilla” suffered from pitch problems. But with each act she grew more secure, her hearty and sturdy mezzo taking on more assurance and control. She was at her best in her defiant final scene with cast-off lover Don José, boldly wielding unwavering power in her high notes and forceful thrust in her chest tones. Fritz lacks the sultry animal grace one looks for in a convincing Carmen, but she made the role hers with a kind of brusque and genial bonhomie that suggested a Spanish gypsy version of Julia Child.

Tenor Adam Flowers, from the second-night cast, stepped in to replace Etsel Skelton as the opening night Don José. Boyish and sweet-faced, Flowers is a sensitive, clear-voiced singer who brought some endearing qualities to this taxing role. His “Flower Song” in Act II was passionate and nicely nuanced, and though he often gave the impression of driving his vocal powers to their apex, the strain rarely showed.

As the braggart bullfighter Escamillo, baritone Joseph Wright lent clarion vitality to the “Toreador Song” and cut a fine enough figure to make us believe, for once, that a savvy gal like Carmen could actually fall for this macho blowhard.

Able support

Carmen's pals Frasquita and Mercédès were excellently played by Sandra Rubalcava and Janelle Laurenti, with Rubalcava's spot-on top notes making especially strong contributions to the ensembles. Their “Card Trio” with Fritz was a dramatic high point, as Cleve took a measured pace that deftly underscored Carmen's sense of impending doom.

As the “nice girl” from José's home town, Mica”la often steals the show, and Deborah Beriola came close, making the most of her Act III aria with poised determination, soaring phrases, and only a hint of steeliness in the high register.

The smugglers Dancaïre and Remendado were brashly played by Gregory Fair and Bill Welch, and we were mercifully spared most of their superfluous chatter in the curtailed dialogue. Carlos Aguilar as Moralès was burly voiced, while Jesse Merlin seemed a little too callow to offer much menace as José's commanding officer Zuñiga.

Bruce Olstad's well-trained chorus sang with polish, capably joined by children from the Cantabile Youth Singers and Ragazzi Boys Chorus. Stage director Cox overdid his idea of having kids chasing each other throughout the crowd scenes, turning dramatic energy into annoying distraction. Carmen continues its run, with two complete alternating casts, through February 20.