Bizet: Carmenby Anonymous

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May 08, 2007: It is nice to have another top-notch recording of Carmen in the catalogue. Up to now, the big three were the Solti set with Tryoanos, the Abaddo with Berganza and the Karajan with Baltsa. All of these are very fine recordings and each has its own strengths and weaknesses. Perhaps you don't fancy the boisterous Escamillo of Sherrill Milnes, or you enjoy the sultry singing of Baltsa as compared to the husky tones of Troyanos. Jose Van Dam is my favorite Escamillo on record but I don't enjoy the rest of the cast. In the above recording, the cast could hardly be bettered and the orchestral sound is twice as vibrant as on any of the other sets. Michel Plasson leads his French forces on a speedy romp through Bizet's most famous work, giving the listener the feeling that the characters are being pushed inexorably toward their fate by the unrelenting flow of the music...which, of course they are. Not everyone will enjoy the Carmen of Angela Gheorghiu, particularly purists who think the role of Carmen should only be sung by mezzo-soprani. I was among them until I heard her interpretaiton. Hers is a remarkably well-developed and alluring Carmen, capable of seduction, remorse, pity, passion and love. She achieves some astounding chest tones for a soprano and captures all of the drama of the role. She is well matched by her true-life husband Roberto Alagna as Don Jose. Always most comfortable singing in French, Alagna brings such finesse to the role, his Flower Song is well-paced and nicely sung. He too, achieves some remarkable sounds: his pianissimi are particularly wonderful. Thomas Hampson struts his way through the smallish role of Escamillo with all the verve and elan that is the hallmark of his operatic performances. His French is excellent, and though not as smooth a bullfighter as Van Dam for Karajan, he is perhaps a more heroic one, his voice easily emcompassing the role and he is above all, believable. The Micaela of Inva Mula is a delight. Her light, lyric voice soars in "Je dis," and offsets the darker, richer sound of Gheorghiu nicely. The supporting cast is filled mainly by native French speakers, unlike the other sets mentioned above and one couldn't wish for a better ensemble, particularly in the tricky singing of the quintet and trio. This is clearly the new first choice for this opera. I highly recommend it!