Review: With a cast like this, ‘Carmen’ at Lyric Opera is a sure thing

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Review: With a cast like this, ‘Carmen’ at Lyric Opera is a sure thing
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'You know what they say about people who assume, but based on casting alone, it was hard not to expect great things from Lyric Opera's latest 'Carmen,'' writes Hannah Edgar.

” clung to a tremendous inner strength that buckled, devastatingly, with a wisp-like final “je t’aime.”Just when you think the production’s creative current can’t get any more supercharged, Schultz returns to the stage for her big Act 3 aria . What made this interpretation so great is almost ineffable. Of course, there’s that voice — rounded, enveloping, rich in violet undertones rare for a soprano.

Ryan Opera Center singers carried the show’s entire supporting cast, and phenomenally so. Wm. Clay Thompson, playing Zuniga, is quickly becoming the company’s young MVP, and his pliant, expressive bass demonstrates exactly why. The card trio was a show highlight in the hands of soprano Denis Veléz and mezzo Katherine DeYoung, the former’s sky-skating lines especially radiant.

For the first time in Lyric’s history, too, “Carmen’s” supertitles and program book swapped the word “gypsy” — now widely considered a slur against Romani people — for “Roma” or, the libretto’s term, when describing Carmen and her associates. Classical music has been dragging its feet on this point for years; good on Lyric for shrugging off complacency and doing something about it, though only a start.

Nánási oversaw some truly fine playing in the pit — a tender, suffusing accompaniment to José's “Flower Song,” and piquant openings to Acts 2 and 4 — but that’s more fairly chalked up to the Lyric orchestra, who, thankfully, remain brilliant regardless of who’s on the podium.

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