MTSU’s Carmen: Sassy and a Little Dangerous
Entering Middle Tennessee State University’s Hinton Hall on the evening of April 18th, I was looking forward to seeing their Opera Theatre’s final production of Georges Bizet’s Carmen. One of the most popular shows in the repertoire, Carmen offers a mixture of playfulness paired with tragedy with a never ending intensity from the very first note. This performance was under the direction of Dr. Will Perkins, and the music was under the direction of Joseph Walker.
The orchestra’s jovial and compelling performance of this iconic prelude launched us into the evening. Under the baton of Dr. Carol Nies, they expertly executed a playful dance that gracefully transitioned into a preview of the well-known “Toréador” tune and finally left us with a hint of the lush and daunting melody that would end our show. Throughout the evening I was constantly impressed with how consistent and flexible the orchestra was, never losing their march, yet also allowing the vocalists to find freedom in their phrasing when appropriate. There are a number of turns and trills within the texture that feel so distinctly Carmen, and each note was played with a vigor that brought the scenes to life.
A soft trickle in the beginning that ramps up into an energy that flows throughout the show, the chorus did a wonderful job keeping us in the story and creating a fun atmosphere to represent 19th century Seville. I particularly enjoyed the zest I saw throughout all of Act II. The costumes, designed by Rachel Perkins, were absolutely stunning; the soldiers uniforms were crisp, and the Bohemian style that we saw on the chorus for the remainder of the show nailed the time period…gorgeous corsets, long skirts with dance wraps, long flowing hair – it was such a treat for my eyes! Rachel Oppmann’s set allowed for us to have a clear idea of the scene, gave the vocalists an opportunity to explore different dimensions, and left the perfect amount of room for flexibility between scene transitions.
Don José, played by Jordan Mathis, delivered a beautiful performance of a devoted man that takes it over the line when consumed by love. Mathis’ tone is incredibly pure and his legato is executed with ease, and I felt like it was so easy to believe his innocence in the early stages. His duet with Micaëla (“Parle-moi de ma meré”), played by Caitlin Clements, was charming and sweet – words we would certainly use when describing young lovers. Clements is gracious and doting in this scene, giving us an early indication of Micaëla’s steadfast nature. She later delivers a lovely rendition of Micaëla’s aria (“Je dis que rien ne m’épouvante”) where she really allowed her voice to blossom as Micaëla finds strength to tread into uncharted territory for the man she loves. Don José is always delicate with Micaëla, but Mathis’ emotional outbursts with Carmen that only intensify as the plot progresses are handled quite well; you can see how he is being driven mad over his obsession, and it’s a stark change.
From the moment she stepped out, Erin Seifert’s Carmen had me captivated; she had total control of the stage and brought such a magnetic energy – no wonder we are all so obsessed with Carmencita. Seifert’s voice is powerful and rich and she displayed an effortless command of her entire register, her tone never once losing presence. She handled Carmen’s iconic aria (“L’amour est un oiseau rebelle”) with ease, infusing the piece with the right amount of sass and seductive charm, but I must say that her Seguidilla stole my heart (“Prés des remparts de Séville”). It was playful, fun, cheeky, and Seifert displayed for us early on her vocal mastery of this character. Beyond her singing, I believed every word, every gesture, every note that came from Seifert; she sold me Carmen wrapped in a velvet bow, and I would buy it again.
A musical moment I would be remiss not to highlight is the quintet that occurs in Act II between Carmen, Mercédès (Lauren Glaeser), Frasquita (Abigail Miller), La Remendado (Vivian Acevedo), and El Dancaïre (Warren Quandt). This moment (“Nous avons en tête une affaire”) is so exposed and requires the vocalists to be completely locked in. The quintet delivered a crisp and energetic performance, their voices working so beautifully together, and it had me leaning in for more.. We get another taste of this in Act III with “Quant au douanier,” with a playful addition of the entire chorus joining in.
While I’ve mainly highlighted the bright and exciting moments of this opera, there is a dangerous undertone that starts to take shape in Acts III and IV. Don José’s obsession with Carmen paired with her annoyance of their relationship creates quite a toxic dynamic. As we enter the last scene of the show Mathis has us feeling uneasy with his pursuit of Carmen, and Seifert has us feeling nervous as she goes to face the bull head on – both of them unyielding in their paths. The harsh reality of our heroine’s ending was handled well by the pair, showcasing for us an intensity in their dynamic that reaches a fever pitch as the story comes to an end. The inherent violence in their relationship is portrayed in a way that feels appropriate for a collegiate production.
I had such a wonderful evening watching MTSU Opera Theatre’s production of Carmen. As a fellow opera singer and lover I sincerely applaud the cast, orchestra, crew, and leadership team for their performance. Bravi, tutti!
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Angela Stenzel is a soprano based in Nashville. She is currently a member of the Nashville Symphony Chorus, Vocal Arts Nashville, and has performed with the Nashville Bel Canto Foundation.
