Bizet: Carmen

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Editorial Reviews

All Music Guide - Stephen Eddins
What a pleasant surprise that this recording of "Carmen," that, on the basis of its packaging looks like it was intended to be essentially a showcase for Andrea Bocelli, is an entirely respectable version of the opera. Much of the credit goes to Myung-Whun Chung, who leads Orchestra Philharmonique de Radio France in an exceptionally brisk account of the score, starting with a prelude that's bracingly impetuous, but he can be languidly flexible when the music calls for it. He uses a sort of hybrid version of the score, with some of the spoken dialogue and some of Guiraud's recitatives, and it works just fine. The singing itself is largely of a high quality, and most ...
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Editorial Reviews

All Music Guide - Stephen Eddins
What a pleasant surprise that this recording of "Carmen," that, on the basis of its packaging looks like it was intended to be essentially a showcase for Andrea Bocelli, is an entirely respectable version of the opera. Much of the credit goes to Myung-Whun Chung, who leads Orchestra Philharmonique de Radio France in an exceptionally brisk account of the score, starting with a prelude that's bracingly impetuous, but he can be languidly flexible when the music calls for it. He uses a sort of hybrid version of the score, with some of the spoken dialogue and some of Guiraud's recitatives, and it works just fine. The singing itself is largely of a high quality, and most reservations come from the singers' lack of full dramatic engagement with the material and with each other; there is little chemistry between the two leads, for instance. Marina Domashenko has the vocal resources necessary for the role, and she's effective in the seductive moments, such as the Habanera, Seguidilla, and her Act II dance for Don José, but she fails to project the fiery temperament and emotional complexity of the most persuasive Carmens. Bocelli is most successful in the music that allows him to sing sweetly, such as his Act I interactions with Micaëla, but his Don José is always believably human; he, more fully than Domashenko, embodies his character's development, particularly his growing desperation. His lack of vocal consistency is problematic, but at his best here, the fullness his tone, and the discipline of his phrasing might well surprise his critics. Eva Mei is a sweet-voiced but somewhat bland Micaëla. As Escamillo, Bryn Terfel is a strong and nuanced; his experience and his musical and dramatic depth stand out. All the secondary roles, especially Jean-Luc Ballestra's Morales, are very well sung, and the Act III ensembles are among the high points of the performance. This may not be the most dramatically compelling or vocally consistent performance of the opera on record, but its strengths make it a version that deserves attention. Decca's sound is clean and balanced.
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Product Details

  • Release Date: 3/30/2010
  • Label: Decca
  • UPC: 028947576464
  • Catalog Number: 001400202
  • Sales rank: 60,258

Tracks

Disc 1
  1. 1 Carmen, opera - Georges Bizet & Georges Bizet (138:27)
    Composed byGeorges Bizet, Georges Bizet
    Conducted byMyung-Whun Chung
    Performed byMyung-Whun Chung, Thierry Felix, Thierry Felix, Delphine Haidan, Olivier Lallouette, Eva Mei, Eva Mei, Radio France Orchestre Philharmonique, Bryn Terfel, Andrea Bocelli, Andrea Bocelli, Alain Gabriel, Marina Domashenko, Marina Domashenko, Choeurs de France, Magali Léger, Jean-Luc Ballestra, Jean-Luc Ballestra, Maîtrise de Radio France, Les Maitrises De Radio France
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Album Credits

Performance Credits
Andrea Bocelli Primary Artist
Bryn Terfel Primary Artist
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