A Certain Dark-Eyed Beauty of Romany Extraction

My long relationship with Bizet's Carmen.
by Paul J. Pelkonen

My Carmen collection: (clockwise from upper left: Victoria de Los Angeles (not pictured), Marilyn Horne,
Agnes Baltsa, Christa Ludwig, Teresa Berganza, Tatiana Troyanos (not pictured), Jennifer Larmore.)
Photo by the author, screen cap taken from my iTunes.

Q: "What do you call two guys driving to the opera house?"

A: "Carmen."- -Mauri E. Pelkonen

I first met her when I was nine (maybe ten) years old, in my first year of going to the New York City Opera with my parents. A dusky, dark-haired bohémienne vixen with a rich mezzo-soprano voice (it was either Judith Forst or Susanne Marsee) that seductively sang in French, a language I knew little of. And yet, for that prepubescent kid sitting in the New York State Theater with his Mom and Dad (at his fourth opera!) Carmen was already something special. The show mixed spectacle, comedy and tragedy in a dizzying brew, laughing in the orchestra even as its characters hurtled toward disaster in the fourth act. And thanks to Dad's record collection, I already knew some of the music.

Opera Review: March to the Scaffold

Poulenc's Dialogues of the Carmelites at Caramoor. 
by Paul J. Pelkonen

Sisters: the cast of Dialogues of the Carmelites with Hei-Kyung Hong at the right.
Photo by Gabe Palacio © 2015 Caramoor Festival.

The Bel Canto at Caramoor series specializes in the opera of the early 19th century. But this Saturday, music director Will Crutchfield thrust this annual summer opera festival squarely into the 20th century with the first Caramoor performance of François Poulenc's powerful 1957 opera Dialogues of the Carmelites. This semi-staged performance, directed by Victoria Crutchfield featured a strong cast of veteran singers mixed with raw but very promising talent.