'Carmen' returns to Met Opera mixed in reviving

Metropolitan Opera revival of its 2 ½ years, the production of Bizet's "Carmen" was a memorable debut for conductor Michele Mariotti and performances by Anita Lee yonghoon Rachvelishvili and have never really accepted figure. Mariotti, Senior Teatro Comunale in Bologna, Italy, has put his mark on the premiere on Friday with an opening race performed strongly that borders a hyphen. The 33-year-old, an evening form of propulsion, highlighting the colors of Bizet's score and dynamic production of Richard Eyre, who in 2009 opened the Met New Year. Mariotti received his first high-profile assignment in January set the new staging of Michael Mayer Verdi's "Rigoletto" in 1960 in Las Vegas Met Prada Top Handles Bags Rachvelishvili, a mezzo-soprano who has worked her debut last year Met 'Carmen' rebirth sneaked its way to all the sexy moves of the title character in a way. She had a powerful voice, his dark voice, which has a particularly strong high, and "Habanera" was losing appealing. However, it has not reached a smoldering Carmen is the center of attention of all men. The boy looks, Lee has. A beautiful tenor dynamic table in the upper register piano notes and warm, and he won applause from a good song sung flowers But his game was a bit steep and with his singing was bad French diction with hard vowels, which tarnished bullied to the point of distraction. During the last scene, it was with anger than fear. You are never quite few teeth, crossing display many sparks of attraction. Until the last scene, Don Jose seemed to have more passion for Micaela in Carmen, and the interest in the gypsy Zuniga was much more convincing. Instead of enthusiasm and frustration building to a crescendo, Don Jose seemed to be a trapped passive-aggressive. Kate Royal, the role of Micaela Jose sensitive city favorite, the most rounded performance gave credible and had a great soprano via fusion. Kyle Ketelsen was a dashing Escamillo, his bass-baritone opening after starting a little dry the Toreador Song. Former football player Keith Miller was a sexy Zuniga, Jose's superior military - asked why Carmen has not run with it rather as Escamillo. Eyre staging, with sets by Rob Howell and aerial choreography by Christopher Wheeldon, moves the action in the 1930s. The last picture is a bit much when the towers bullring and only kill Escamillo in what appears to be a comparison with the body of Carmen at the entrance display. There are five more performances until 18 October and production returns with some changes in the distribution of more than seven outputs 9 February - 1 March. 23rd February morning will be broadcast on the radio.