Sybille Forster-Rentmeister
Once again Opera York took another step to fulfill its
mandate as a vibrant, true Canadian art organization with an educational
vision. On November 25 Bizet’s Carmen was presented as a concert version in
French. Despite all sorts of unforeseen changes in the casting of important
singing roles Penelope Cookson as Artistic Director and Sabatino Vacca as
Musival Director rose to the challenge and produced a temperamental yet
sound version of this all time favourite.
With a production of this size so many personal changes and
only 2 weeks to get this - for many performers – brand-new work under their
belt, there are always a few "nerves" to deal with. In this case they
subsided so quickly that hardly anyone noticed. The confidence and joy of
singing took over fast, especially among the female performers, soloists and
choir alike.
This is by no means an easy work to perform, even for
seasoned artists. Taking a bunch of musicians and familiarizing them with a
brand-new score is quite a feat in itself, especially if there is a new
orchestra still in the making. Adding in all sorts of other performers and
choirs, some of them still in a student situation, makes the work all the
more challenging. The important thing is: It worked! There was chemistry on
stage, the music was becoming alive, the characters had color!
Especially Marion Newman as Carmen dazzled with her defiant
nature and wonderfully rich voice. Her temperament pulled the other
performers along, creating very soon an ambiance conducive to the plot of
the opera. This Native Canadian is multi talented and we should watch
closely her development. She can only get better and better when she gains
from emotional development as time goes on. There is another Giselle
Fredette in the making!
Andrew Tees as the bullfighting charmer was very at home as
Escamillo. He sauntered in as though he owned the place. His rich baritone
had become even a bit warmer since we heard him last in the Barber of
Seville and the gala for Opera York.
Keith Klassen is familiar to operetta fans from the TOT’s
Chocolate Soldier. He made a good-looking and jealous Don Jose.
Michael Meraw, has a versatile baritone voice and doubled as
Zuniga and Morales without trouble.
Two gypsies were performed by equally interesting young
woman. Denise Williams, soprano, as Frasquita has fine credentials and we
are looking forward to seeing her in something else, like in the Toronto
Mendelssohn Choir’s performance of African Sanctus.
Laura Pilarski as Mercedes had great gestures and attitude
to accompany her lyric soprano. She is a spirited performer.
Matthew Zadow and Benoit Boutet as the calculating smugglers
rounded out the solo cast.
A special feature were the young people from the St.
Elizabeth Catholic High School. Their fresh voices added richness to Bizet’s
musical tapestry.
With yet another interesting project behind them we wonder
what is coming up next for Opera York. The program announced a full
production of Puccini’s La Boheme April 1&3, 2005, again in the Markham
Theatre for the performing Arts.
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