![]() No, in these days, and many more to come, there's no one more modern, no one more in tune with the world today, than Georges Bizet's Carmen. As she attests in what may be her credo, I'm doing my own thing, and if that kills me, so be it. ![]() Yet, she faces her demise with cold-blooded acceptance. Although in the arms of superstar matador Escamillo (baritone Christian Pursell), she achieves her 15 minutes of fame and respectability but seals her fate when she tosses that rose at Jose outside the cigarette factory. Unfortunately for her, she falls for ordinary guy Don Jose (tenor Richard Trey Smagur), and his conventionality ultimately drives him nutty with jealousy and possessiveness. ![]() When she tires of a lover, she finds another. Carmen lives by her own terms and makes no excuses. ![]() Feisty, independent, and sexy beyond reproach, she's her own Lean-In movement. Who else can compare to this zesty, doomed Lady of Spain. Carlisle Floyd's Susanna makes the cut, but who's seen her in the last half century? Heggie's Sister Prejean is too woke and would whine about your vaping. Don't ever make Pharaoh's daughter angry. Verdi's Aida is a runner up, but her bad choice of lover seals her doom. ![]() Strauss's Salome is psycho and way underage, and nobody wants to meet Elektra in a dark alley. Puccini's Mimi is always sick, probably a hypochondriac his Tosca is high maintenance and deadly jealous. Wagner's Brünhilde is a demi-goddess, too imperious and rather scary. There is no character in opera quite like Carmen (mezzo Carolyn Sproule). ![]()
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