William Adams, DMA
Despite the opinions recently offered by a certain film celebrity, there are plenty of people out there who not only appreciate but know the importance of opera, ballet, and countless other art forms. We attend opera to experience the ultimate form of human artistic expression: vocal artistry in its purest form, symphonic music, captivating dance and ballet, comedy and tragedy that lift the spirit and move you to tears, and all of the exquisitely crafted elements of the theater from the lights, to the sets, to the costumes. What’s more, what we witness is live, in real time. It isn’t the second or twentieth take to get something “just right.” It happens right there, one shot, and move on. We see the world’s best artists on the stage doing something most would find impossible and inconceivable, and making it look simple. And so it was with great anticipation that opera lovers filled to capacity the High Point Theater to witness Piedmont Opera’s opening night performance of George Bizet’s eternal Carmen.
And sometimes, we get to see something heroic.
Every singer shares the same nightmare: facing a performance when your voice is compromised. Sometimes, you have the luxury of a cover (the theater term is “understudy”) who can sing for you. Sometimes that means they replace you entirely for that performance, and other times it means the cover sings from the pit while you lip sync (always announced beforehand). But, sometimes, especially in smaller, regional companies, there aren’t covers. The show either goes on or it doesn’t. This is bad enough when you’re a comprimario. When you’re singing the title role, literally the name of the opera, well, that’s a whole other level of stress. Over time, opera singers learn, often the hard way, not to “sing on a cold.” But, young opera singers on the rise are still paying the rent and often have to make that difficult choice to perform anyway and hope for the best. They rely on all of their training and their instincts to manage some of the most difficult music in all the repertoire when they’re far from their best. They have to hope they will give a performance worthy of the production and their fellow cast-mates, but that they do not further compromise their instrument.
Upon inquiry, it was revealed that Zoie Reams was “vocally compromised” for the opening night performance of Carmen. The details were not revealed nor are they relevant. Ms. Reams was faced with that dilemma: cancel and potentially cause the entire production to shut down, or somehow navigate one of the most demanding and difficult roles in all of opera on an instrument that was “compromised.”
To further illustrate just want this means for a performer, a major part of the process of learning a role is “getting it into the voice.” Muscle memory is very important for any opera singer (or musical theater singer) in learning a role. When the voice is no longer behaving the way you expect, that muscle memory is either gone completely or actively works against you as you try to modify the way you sing the role. Modifying your approach feels like you’re reinventing the role, vocally, in the moment. For a role like Carmen, that is a gargantuan task.
Knowing what she was facing, her performance was nothing short of heroic, and brilliant. She sang the role much lighter than she would have wanted, but it was still enough sound to carry over the orchestra. Her tone was clear and beautiful. It was understated for Carmen, but it was impeccably handled and still quite artistic and musical. There was no obvious evidence of dysfunction with her voice until the very end when she allowed herself to let loose, just a bit, in the final confrontation with José. That was the only time strain could be heard. Despite the vocal energy being light, it did not seem to impact her physical performance. Ms. Reams’ Carmen is immensely strong, dripping with confidence and defiance. Even from the middle of the house, her eyes were expressive and dynamic; she gives wonderful side-eye shade when she needs to! There are not enough words to express how impressive it is to see someone navigate the role of Carmen so completely while dealing with vocal issues.
Dominic Armstrong sang the role of Don José quite lyrically. The result is a character that is softer and perhaps more sympathetic. Rather than some heroic, larger than life character that suffers a tragic downfall because of jealousy, Mr. Armstrong’s interpretation creates a more human character. We see José’s weakness, allowing himself to be pulled away from his own sense of right and wrong in his desire for Carmen and then ultimately destroyed by his jealous insecurities. Mr. Armstrong’s lyricism was on full display in his rendering of “La fleur que tu m’avais jetée” showing impressive dynamic range and control and palpable emotional intensity.
Escamillo must be brash, confident to the point of arrogant, athletic yet graceful, dashing, and heroic. The actor must embody this role physically and vocally, in every detail. Richard Ollarsaba is a top-tier Escamillo in every sense of the character. From his brilliant and resonant baritone to his iron-jaw beard and physical carriage, he immediately evoked memories of the legendary Samuel Ramey. He oozed “baritone swagger.” He did not fight José, he toyed with him. His performance of “Votre toast, je peux vous le rendre,” was suave and utterly relaxed.
Jodi Burns was breathtaking as Micaëla. With seemingly effortless vocal control, pristine clarity, and an easy, natural stage presence, she provided the evening’s musical apex in a stunning performance of “Je dis que rien ne m’épouvante.” Stealing much of the show, however, were the performances of Caryn Greco as Frasquita and Stephanie Foley Davis as Mercédès. They both showed wonderful comedic timing and equally impressive physical presence and expression. Their duets were impeccably clean and precise and the fortune telling trio with Carmen was another high water mark for the production. Dr. Greco’s soprano is brilliantly clear and virtuosic, practically shimmering in her higher registers. Ms. Davis provided the perfect balance for Dr. Greco. Her voice was equally virtuosic and precise and she sang with an intense warmth that envelops the listener. It speaks to the immense talent of this cast to have singers of the caliber of Dr. Greco and Ms. Davis in supporting roles when both are leading actors in their own right.
Rounding out this impressive cast, were excellent and noteworthy performances by Dan Boye as Zuniga, Christian Blackburn as Dancaïre, Logan Webber as Remendado, Markell Williams as Morales, and Hal Garrison as Lillas Pastia. Each singer brought not only great vocal presence to their roles but equally impressive dramatic presence.
Some opera choruses, frankly, sound like they’re just full of frustrated opera singers who weren’t cast in lead roles. Others sound like great choral societies but lack that extra little spark you can get from operatic singers. The Piedmont Opera Chorus has found just the right balance under Dr. Kelly Turner. The chorus was full of excellent voices with plenty of solo color and vibrancy, but each person was completely committed to creating an ensemble. Each singer was also fully engaged and in character. They were truly a delight. They may well have been upstaged, however, by an absolutely enchanting children’s chorus prepared by Anne Saxon. The children were utterly professional in their engagement, their discipline, and their absolute and total command of the music. Finally, proper congratulations must be offered to conductor Joseph Mechavich who crafted a passionate yet patient interpretation of Carmen. Nothing was rushed or out of control yet each moment was filled with the emotional intensity the opera demands.
Piedmont Opera is about to celebrate 50 years! This remarkable milestone only goes to prove, even more, the viability and importance of opera in today’s society. With productions of this caliber, they’ll easily be a mainstay in our community for another 50 years!
