Two Saturdays ago, I conned Brendan Kiley into letting me cover Seattle Opera's production of Carmen for The Stranger.
I'm training to be an opera singer, so naturally, I loved every minute. But you should love it too—Carmen is an incredibly sexy, charismatic gypsy charlatan. In this case, all the trappings of opera only serve to enhance that image, and Seattle Opera does a hell of a job with it.
Seriously though, it's a fantastic production and you all should check it outbefore it ends this weekend. Side note: I got to meet Director Bernard Uzan—squeel!!!—who said nothing to me other than "you're good-looking for a bass."
From my review:
Norah Amsellem as Micaëla, Don José’s spurned fiancée, viscerally reminds the audience that opera is about powerful, unamplified live music. When she occasionally turns to the side during an otherwise reticent love duet, she creates an entirely new physical awareness of the space with the paths of her reverberating voice. You can literally feel her voice hit different parts of your ear—even quiet emotions are physically powerful when portrayed by a virtuosic singer.