Carmen at SF Opera

* Notes * 
A revival of Carmen opened last night at San Francisco Opera with some very fine singing and lively, brisk playing. Francesca Zambello's 2006 production is both pretty and functional, there is never a pause in the music to set up the stage.

Conductor Benjamin Manis had the orchestra at a quick pace. The music was not particularly crisp and there were some moments that were not fully together, but it did not detract much from Bizet. The harp and cornets were particularly strong. 

At this point I have seen Zambello's staging three times, and it definitely holds up and does the job. It's not as interesting as Bieto's production we saw in 2016, no stage entrances from telephone booths or people being thrown in the air, but it does have a horse. Drogen (pictured with Christian Van Horn and the chorus, photograph by Cory Weaver), the 18-year old Gypsy Vanner gelding that appears in Acts II and IV and remained calm despite the excitement from the audience.

The cast has many powerful singers. The Adlers did well, baritone Samuel Kidd was a fine Moralès and has a good sense of physicality in the scene when Micaëla is looking for Don José. Bass-baritone James McCarthy was also strong as Zuniga, brash and confident. It was fascinating to hear mezzo-soprano Nikola Printz sing Mercédès rather than Carmen, as they have often done the title role at smaller opera companies. Soprano Arianna Rodriguez is a charming Frasquita, such a lovely, dulcet voice.

Soprano Louise Alder is a bit matronly for Micaëla, her voice is neither angelic nor sweet, but she certainly could be heard. Bass-baritone Christian Van Horn is convincing as Escamillo. His sound is consistent throughout his range and his volume was good. 

In the title role, soprano Eve-Maud Hubeaux has a dramatic and smooth sound, her voice is like a live ember. Her sensuality came through her singing rather than her movements, which were awkward and stilted. Her French is very clear, and it is obvious this is her native language. Tenor Jonathan Tetelman is a dashing Don José, his voice is very robust, but he has good technique and can vary his dynamic range.

* Tattling * 
I heard this opera up in balcony standing room. The house looked very full, and I did notice a fair amount of whispering and checking the time on cellular devices. The young man in Row L Seat 8 looked at his phone for several minutes in Act II during the quintet. I was relieved that he left with his date at intermission.