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BIZET’S CARMEN |
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PRESS |
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Post-Concert Press: |
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February 9, 2010 NewJerseyNewsRoom.com "Opera New Jersey and the New Jersey Symphony Orchestra deliver a brilliant 'Carmen' that breaks new ground" |
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"The latest production is a joint effort between Opera New Jersey and the New Jersey Symphony Orchestra, which has just opened at Princeton's McCarter Theatre to a packed house, despite warnings of a major snowstorm. And the audience saw a production that broke new ground—for staging and dance as well as developing new stars for the opera firmament ... It is perfectly obvious that [Kirstin Chávez] is well on her way to becoming one of the most definitive Carmens of all time."
Read the article [newjerseynewsroom.com] |
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Pre-Concert Press: |
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February 4, 2010 The Star-Ledger ,
"Mezzo-soprano a fill-in for role she seems destined to perform" |
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"Far from a mere substitute, Chávez has been described by Opera News as "the Carmen of a lifetime" and entranced critics as well as Don Josés at New York City Opera, Australia Opera and in Austria, Tokyo, and all over the U.S. She even stepped in for Graves once before, singing from the wings in Orlando when the star singer suddenly became unable to use her voice. She has also appeared in other roles at houses such as the Metropolitan Opera and festivals such as Caramoor."
Read the article [nj.com] |
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MUSICIAN INSIGHT
Mark Timmerman, bassoon |
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This Carmen, Kirsten Chávez, is one of the best complete packages I've ever seen in a leading role in an opera. Her acting and singing together really pull you in to the story. I'm lucky because I'm able to see everything on stage, but it's been hard for me to concentrate sometimes because I want to keep an eye on her! She's so exciting to watch. That role carries the opera, and I think she's completely reveling in the fact that it's all about her—and that's exactly the kind of person Carmen is. [Kirstin] is bringing it to life.
The conductor [Joseph Rescigno] is really experienced, and he's great to play for because he's so passionate and loves this music so much. He's bringing something out of the orchestra that opera really needs—a passion and vitality. He's very in-your-face and very excitable, which is what needs to happen for opera, as opposed to symphonic music.
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