While some showcase Carmen as a more sensual being, Margaine is straight-up sexual. Physically, Margaine matched her vocal ferocity and variety with physical prowess. Each movement toward the low note that climaxes the aria almost like death strokes.
This latter section was particularly poignant in the slow tempo, the sense of dread pouring into the weight employed vocally and emotionally in the aria. Similar phrasing and vocal approach was utilized in the seguidilla and finally the Card aria from Act 3. By the end of the passage, her voice was a cannon, its massive sound pouring across the theater. This was most noticeable in Carmen’s “Là-bas, tu me suivrai”, Margaine coming all the way downstage, her feet almost touching the edge of the stage, her voice a tiny thread of sound that projected ever so delicately through the theater. Suddenly as if out of nowhere, she would throw in a timely accent into the phrase, breaking the sense of comfort that her singing had accustomed the listener to. Her singing echoed this particular feeling with Margaine usually singing passages unusually soft, forcing the listener to really listen carefully to every delicate nuance in her phrasing.
Opera mail review 2016 full#
Margaine’s Carmen is a willful being, full of aggression that she can release at any given moment. Her interpretation of the character works quite well with Richard Eyre’s fantastic production that parallels the slaughter of a bull with the heroine’s demise. Margaine has taken on the role in Bizet’s iconic work at 15 times since 2013, enough time for her to essentially immerse herself and become Carmen. She was also far more renowned than Margaine, who despite being the Carmen of the moment, was far from a household name.īut Koch’s departure from the production has proven to be a true blessing with Margaine proving why the world has embraced her interpretation as the famed gypsy.
Opera mail review 2016 crack#
Koch had been the hot ticket, the world awaiting the French singer’s first-ever crack at a role that she claimed was among the toughest to approach in the repertoire. Of course with the newfound attention came a great deal of questioning. Instead the French mezzo saw her first performance at the history house pushed up two weeks. When Sophie Koch cancelled all of her performances for Bizet’s “Carmen” at the Metropolitan Opera, attention immediately turned toward Clémentine Margaine, who was set to make her Met debut on Feb. This review is for the performance on Friday, Feb.
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