Carmen by Georges Bizet
Skagit Opera
McIntyre Hall October 6-15, 2006
I went with friends to the opening night of Skagit Opera’s CARMEN. I was blown away. This is the third opera I have seen by Skagit Opera – they have all been very good. But this time they really showed how they are continually working to raise the bar and improve every aspect of their productions.
The orchestra was absolutely fantastic. For a scaled down group they had a great command of dynamics under conductor Dean Williamson. To me, the key to great music for a show is not to notice it, it should seamlessly interweave with the action. And this orchestra did. It allowed me to become fully engaged in the action and singing. Espcially after the first act the orchestra was gelling very well. My normal complaint with scaled down groups is the wimpy string section sound – not in this production. Sharyn Peterson was concertmaster – she and Dean Williamson performed some magic and delivered a power very unusual for the size of group they had. The pathos of the lust in the music was all evident in their delivery. Bravo!
And to my friend who says it seems like I’ve done everything – yes I did perform in Carmen with Seattle Opera as a boy soprano back in…..mmmm……I think it was 1977 or 1978. But that was a lifetime ago.
One of the people I watched the opening night with is a well cultured European who commented: “I have seen many, many Carmens. But I have NEVER seen one as sexy as this one!” I agree. Sarah Heltzel was extremely sexy in the role. Her performance was…..how shall we say…..spicy and tantalizing. She made it very believable that men were falling in love with her left and right. From reading her bio (part of which is listed below), she is just starting to make her mark. She has the makings of a very strong and lengthy career ahead of her.
Don Jose performed by Stephen Rumph. (Read more about Stephen Rumph.) Stephen is my new favorite opera tenor. I saw him perform last year, I think it was in the Magic Flute. He has such command over his high falsetto and often makes use of switching between his chest voice, to head voice and back with apparent ease. It is reminiscent of an Irish tenor, the sweetness to the note – or the sound you might expect from Schubert Lieder – then just as swift he pounces with full power and reminds you fine enough that he is a tenor for the opera house. Of all the voices I have heard with Skagit Opera, his alone is the most moving and magical to me. You truly must hear it to believe it. In Magic Flute and the beginning of Carmen he plays very straight laced, kind of “prince charming” roles – it was surprising to see him at the end turn into the love crazed psychopath that Don Jose turns into before he kills Carmen. Great acting transition and entirely believable to me.
Ron Wohl is one of the founders of Skagit Opera. I think it’s fair enough to say he earned his role in this Carmen. He blended in with the full time pros evenly and steadily. Whatever he has been studying vocally has definately paid off and he is seeing ample returns. And of course he is always a commanding presence onstage, I think he’s like 15 feet tall. 🙂
The set was static and used for all four scenes – Plaza, Gypsy Tavern, Mountains and Bull Fighting ring. Awnings were changed for scenes and a drape across the top with special lighting was used for the Mountain scene. The set was construced for this particular run by Steven Craig who is revered locally for all his wizardy in theatre, including set design. I spoke with Steven Craig about the set design and he said it was very challenging to design one set for all four locations. He said Carmen is noted for it’s monstrous set changes, I thought his solution was very inventive – typical Craig style!
PRE SHOW LECTURE
The Sunday before opening night there was a free public lecture by conductor Dean Williamson. He noted that in Carmen the word “love” is sung so many, many times in the opera – but it is best substituted by the word “want”. The opera really has little to do with love. It is more about lust and wanting ownership over the affections of another individual. He also noted that in the final grand Toreador scene it is sometimes choreographed for a group of thirty or so chorus members to keep entering through the audience and quickly change costumes backstage to re-enter again for the bull fight arena scene. This can sometimes go on for quite a while, giving the impression that hundreds of people are entering the arena.
It was also noted that Bizet’s premiere of Carmen was not received well by the public. They did not like it. Bizet died a few months later, supposedly of depression and a broken heart. As my friend in attendance said, “It’s always like that you know, you have to die before people can like it.”
I look forward to Skagit Opera’s next production!
Skagit Opera Carmen Program Cover
Erich Parce – Stage Director
Baritone Erich Parce has been a frequent guest of opera companies throughout North America and Europe, including the Metropolitan Opera, San Francisco Opera, San Diego Opera, Seattle Opera, Greater Miami Opera, L’Opera de Nice and L’Opera de Montreal.
Dean Williamson – Conductor
Dean Williamson, one of the country’s foremost emergin opera conductors, has conducted all of the Seattle Opera Young Artists Program productions. He conducted Tales of Hoffman for Seattle Opera in 2005 and has conducted at Wolf Trap.
Sharyn Peterson – Concertmaster
Sharyn Peterson, Skagit Opera Co-founder, Orchestra Coordinator and Concert Master, will again be the backbone of our wonderful Starry Night Orchestra and will conduct our production of Amahl and the Night Visitors. She holds a B.A. in Fine Arts and an M.A. in Violin Performance / Pedagogy from the University of Washington.
Julie Benzinger – Mercedes
Mezzo Soprano
Mezzo Soprano Julia Benzinger has been a featured performer with the Sarasota Opera, Britten-Pears Young Artist Programme, Yorke Trust, Opera Pacifica, Bellevue Opera, Concert Opera of Seattle, Maud Powell Festival, Seattle Opera Guild, Rome Festival, Rainier Symphony, Seattle Symphony Chorale and Mancester Camerata.
Charles Crowley – Morales
Baritone
Baritone Charles Crowley has received Bachelor’s and Master’s degrees in vocal performance from the University of Oregon and Western Washington University respectively. He has performed in many operatta, musical theater and opera productions in the Seattle area.
Sarah Heitzel – Carmen
Mezzo Soprano
Lauded by the Seattle Weekly for her “perfectly polished and vivacious” singing, American Mezzo-Soprano Sarah Heitzel makes her role debut as Bizet’s Carmen with Skagit Opera. Heitzel made her Seattle Opera debut in 2005 as Siegrune in their acclaimed Der Ring des Nibelungen, also replacing an ill Rhinedaughter in Das Rheingold at the last minute.
Signe Mortensen – Micaela
Soprano
Signe Mortensen has quickly made her vocal and theatrical mark in the Pacific Northwest region and beyond. She has worked with companies and symphonies including: Tri-Cities Opera, Skagit Opera, Bellevue Opera, Music of Rememrance, Off-Center Opera, Northwest Opera in Schools, Opera Pacifica, Seattle Gilbert and Sullivan Society, Northwest Savoyards, Hans Wolf Community Outreach, and the Rain City Symphony.
Timothy Proctor – Remendado
Tenor
Originally from Santa Ana, California, Timothy Proctor makes his Pacific Northwest operatic debut as Remendado in Skagit Opera’s production of Carmen. Timothy received his Bachelor of Music in Vocal Performance in 2000 from CSU, Fullerton.
Richard Riddell – Dancairo
Baritone
A graduate of Anacortes High School and Skagit Valley College, Mr. Riddell studied theater arts at Washington State University, the National Shakespeare Conservatory, and the Hartt School of Music at the University of Hartford. After graduation, Richard went on to a successful professional career singing roles with the Connecticut Opera, Chautauqua Opera, Opera Pacific, Michigan Opera Theatre, the Bronx Opera and Opernhaus Zurich.
Stephen Rumph – Don Jose
Tenor
Stephen Rumph has established himself as a leading tenor in both opera and oratorio. Last season he sang Rudolfo in La Boheme with Tacoma Opera, and the tenor solo in Mozart’s Requiem with both Northwest Sinfonietta and the Walla Wall Symphony.
Morgan Smith – Escamillo
Baritone
Originally from White Plains, NY, Morgan Smith received his training from Columbia College and the Mannes College of Music in New York City. The baritone made his professional operatic debut in 2001 , singing the role of Donald in Benjamin Britten’s Billy Budd with Seattle Opera.
Carl K. Turner – Lillas Pastia
Tenor
Carl K. Turner comes originally from Tennessee and was a vetern performer at Opryland USA where he logged more than 300 performances as Captain Andy in Showboat. He studied acting under William Ball at the American Conservatory Theatre in San Francisco, and subsequently performed with San Francisco Shakespeare Festival, Eureka Theatre, San Mateo Civic Light Opera and various fringe theaters.
Cristina Villareale – Frasquita
Soprano
Seattle native Cristian Villareale has performed all over the Northwest with organizations such as Seattle Opera, ACT Theatre, Skagit Opera and Village Theatre. Cristina began her career in musicals and plays. She was introduced to opera as a teenager, making her Seattle Opera debut as the young Gretel in Massenet’s Werther.
Ron Wohl – Zuniga
Bass-Baritone
Ron Wohl sang Don Basilio in our Barber of Seville, the Major General in our Pirates of Penzance, Ko-Ko- in our Mikado and the Learned Judge in our Trial by Jury. He is a member of the Seattle Opera Supplementary Chorus and sang in their August 2003 production of Wagner’s Parsifal and in Gotterdammerung in 2005.
Skagit Opera presents Carmen
Music by Georges Bizet
Libretto by Henri Meilhac and Ludovic Halevy after the novella by Prosper Merimee
English Libretto and Dialogue by Mr. Sheldon Harnick
Premiere: March 3, 1875 at the Opera-Comique, Paris
This performance October 6 and 13 7:30pm – October 8 and 15 at 2:00pm
McIntyre Hall, Mount Vernon, WA
Conductor – Dean Williamson
Stage Director – Erich Parce
General Director – Ron Wohl
Set Designer – Steven Craig
Technical Director – Bruce Weech
Stage Manager – Rebecca Heilig
Concertmaster – Sharyn Peterson
Costumer – Charles Caine
Costumes – Malabar Limited, Toronto
Costume Coordinator – Lynne Rittenhouse
Choreography – Sara de Luis
Chorus Director – Scott Rittenhouse
Hair and Makeup Designer – Mary Bingham
Assistant Stage Manager – Breanne Desmarais
Accompanist – Glenda Williams
Rehearsal Assistant – Carl Turner
Properties – Carole Lindberry
Light Design – Steven Craig
Sound Engineer – Jerry Fortier
Light Operator – Don Willcuts
Stage Crew – Dave Mumford, Spencer Desmarais
Master Carpenter – Phil Brown
Publicity – Ron Wohl, Bill Arnett, Nancy Peterson, Ellie Slabodnik
Program – Ron Wohl, Scott McDade
Photography – Eric Hall, Gary Brown
Lobby Display – Robert Slabodnik
Cover and Season Graphics – Scott McDade
Special thanks to Talisman Productions
Ensemble Chorus
Lynne Rheinhardt, Chris Galbraith, Lydia Randall, Micke Rickert, Beth Wallace, Betsy Senff, Phil Trautman, Brian Myrick, Eric Hall, David Cross.
ORCHESTRA
Violin I
Sharyn Peterson
Danae Otterness
Tara Stewart
Andrea Talley
Violin II
Marcus Talley
Ann Glenn
Christine Wilkinson
Jessica Marshall
Viola
Rachel McGuire
Natalie Muri
Cello
Matthew Rehfeldt
David Jones
Bass
Thomas Mayes
Linda Peragine
Flute
Kimberly Breilein
Lindsey Peterson
Oboe/English Horn
Jonathan Peterson
Clarinet
Eugene Zoro
Brian Madsen
Bassoon
Pat Nelson
David Stangland
French Horn
Robin Stangland
Beverly Soler
Trumpet
Malcolm Peterson
Kipp Otterness
Trombone
Colby Wiley
Harp
Gabrielle Holmquist
Percussion
Mary Ellen Hodges
