The set was simple, almost spartan, with the emphasis of an earthen brown color scheme and utilized in multiple ways. The audience responded enthusiastically to the chorus of street children and the pageantry of costumes associated with the bullfight in the final act of the opera. “Micaela’s Air,” sung by the woman Don José has left for Carmen, was delivered poignantly by soprano Vanessa Vasquez. Filling the room with a grandiose stage presence, he makes his entrance on a white horse and sings the famous toreador song with gusto. She captures all of these moods, subtlety shifting from moment to moment, all the while beautifully singing some of the most famous music of “Carmen”-Carmen’s entrance and the Habanera.īass-baritone Ryan Speedo Greene plays the toreador, Escamillo. Isabel Leonard wonderfully embodies the many and varying moods of Carmen which range from angry to flirtatious, petulant to proud, and scheming to charming. “That flower hit me like a bullet!” he says as he falls for the tempestuous woman. In beautiful voice, his young corporal is average-looking, earnest, passionate, and easily duped-the perfect “everyman.” He is chosen almost at random by Carmen, who throws her famous flower at him. Michael Fabiano, the tenor portraying Don José, plays his role to perfection. However, she ultimately rejects him for a flashier man, driving Don José to a mad passion which permanently changes his life beyond return.He deserts the military, leaves his earlier fiancé, and enters the life of exile from society.
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…directed brilliantly by Francesca Zambello.Ī free-spirited Carmen, full of a passion which knows no boundaries, ensnares army corporal Don José’s heart. For example, at the beginning of the opera, we see a silhouetted Don José in prison, prefiguring later events.
The Washington National Opera followed the general plot faithfully, though also incorporates a few surprises. It is, simply put, men and women at their finest and at their worst. With themes of love, jealousy, and fate, Georges Bizet’s work is both universal and sublime. The Washington National Opera presented “Carmen,” one of the mainstays in the opera repertoire. Every year, thousands of people come to ‘Opera on the Field’ and experience opera for the first time.Isabel Leonard in role debut as Carmen.
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“People think of opera as overly formal or almost elitist, but when you do it in a sports stadium, it brings it down to the origin of opera, which is that it’s fun … We can offer it to thousands of people for free in a really fun and welcoming environment. He also hopes the setting wins over new opera fans who may be accustomed to attending sports stadiums but maybe haven’t been to the Kennedy Center. “There’s this idea of what we’ve all missed during the years of pandemic disruptions that’s called ‘collective effervescence,’ when people gather in a crowd and they’re all cheering for the same thing - that’s the fun of doing this in a sports venue.” “Opera is all about being in a crowd and enjoying, just like it is at a sporting event,” O’Leary said. Parking is limited, so public transportation like Metro or ride-share is encouraged.
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The event is free, but you must register in advance to obtain a QR code to scan upon entry.
“We broadcast the opera on the scoreboard, so everyone’s got a great view of it.”
“Audi Field is a state-of-the-art facility and it’s got a beautiful, huge Jumbotron,” O’Leary said. The WNO will screen its recent Kennedy Center performance of “Carmen,” which is performed in the original French with English captions on the screen.
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People can sit on the grass or in the stands and you can watch the opera while eating your popcorn, peanuts and Cracker Jacks.” “The idea is that we broadcast a free performance of an opera. “This is our 17th year doing this, but this is our first time at Audi Field,” Washington National Opera General Director Timothy O’Leary told WTOP. This time, the event moves to Audi Field for “Opera on the Field” this Sunday at 4 p.m. Last year, Washington National Opera brought “Opera in the Outfield” to Nationals Park.
WTOP's Jason Fraley previews 'Opera on the Field' (Part 1)
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