Masterful ‘Carmen’ a feast for the senses

REVIEW

Opera Columbus’ new production of Georges Bizet’s “Carmen” offers a feast for the senses: Sterling singing, masterful musicianship and deft direction work in concert to tell the story of the Spanish gypsy Carmen and her litany of lovers.

With so much to listen to and look at, where does a reviewer begin? Let’s start with the singing. In her Opera Columbus debut, contralto Avery Amereau — soon to receive an Artist Diploma in Opera Studies from the Juilliard School — appears as Carmen.

In the Southern Theatre on Friday, Amereau brought understatement to a part too often done in broad strokes.

During Act I’s gorgeous aria “L’amour est un oiseau rebelle,” Amereau affected a casual stance, with one arm crossed and the other holding a cigarette. In movie star terms, the singer was more like a subdued Lauren Bacall than a fiery Ava Gardner.

The contralto’s voice — significantly lower than many operagoers might be accustomed to — had a marvelously rich complexity; it was less silky than velvety, and always a pleasure to listen to.

Amereau’s instrument promises a long and important career; she already has appeared with the Metropolitan Opera in New York.

No less impressive were tenor Jon Jurgens, whose portrayal of the murderous soldier Don Jose balanced ferocity with gentleness; and baritone Norman Garrett, who played the impudent toreador Escamillo with overwhelming force. Softer sounds emanated from soprano Antonina Chehovska, excellent as the maiden Micaela.

The Columbus Symphony was well-managed by guest conductor Kathleen Kelly, who summoned rich playing during orchestral passages and subtle support during the singing. Kelly also was attentive to the chorus, positioned offstage in box seats.

Director Crystal Manich devised an active, exciting production: This was a show in which tables were climbed upon and plates smashed. Spanish columns bordered a set that stood in for everything from a jail to Escamillo’s dressing room. Choreographer Susan Petry interwove six dancers from BalletMet 2; appearing in an assortment of roles, the dancers moved in march-like rhythms as soldiers and swayed indifferently as cigarette-factory workers, adding much visual interest.

But this “Carmen” belonged to Amereau. We can only hope that her first appearance with Opera Columbus will not be her last.