{"id":658806,"date":"2026-05-09T19:49:15","date_gmt":"2026-05-09T19:49:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/658806\/"},"modified":"2026-05-09T19:49:15","modified_gmt":"2026-05-09T19:49:15","slug":"opera-de-montreals-carmen-features-strong-singing","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/658806\/","title":{"rendered":"Op\u00e9ra de Montr\u00e9al\u2019s Carmen Features Strong Singing"},"content":{"rendered":"

Advertisement \/ Publicit\u00e9<\/p>\n

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With high anticipation, Montrealers have been waiting for years to hear Montreal native, mezzo-soprano Rihab Chaieb portray Carmen in a full production of Bizet\u2019s best known opera. Op\u00e9ra de Montr\u00e9al\u2019s current run of Carmen showcases Chaieb and features a strong cast of Mexican tenor Arturo Chac\u00f3n-Cruz, Indigenous Mexican-American baritone Ethan Vincent and Canadian soprano Magali Simard-Gald\u00e8s.<\/p>\n

What you missed<\/p>\n

As La Scena Musicale previously reported in 2019<\/a> and in our November 2020 cover story<\/a>, Tunisian-Canadian Rihab Chaieb has the vocal fire, intelligence and bewitching charm to encapsulate the role. The Carmen we saw on Thursday, May 7, 2026 at Salle Wilfrid-Pelletier was a free spirit who was captivating, vulnerable and sympathetic. It starts with the voice \u2013 Chaieb\u2019s dark and warm mezzo filled the hall. Her Act I Habanera was beguiling and her Seguidilla (\u201cPr\u00e8s des remparts de S\u00e9ville\u201d) in Act II was seductive and could melt any Don Jos\u00e9. She was equally strong in Act IV, adamantly rejecting Don Jos\u00e9\u2019s ultimatum.<\/p>\n

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Rihab Chaieb. Op\u00e9ra de Montr\u00e9al, Carmen. Cr\u00e9dit photo: Vivien Gaumand et l\u2019Op\u00e9ra de Montr\u00e9al<\/p>\n

Arturo Chac\u00f3n-Cruz (<\/a>La Scena Musicale <\/a>April-May 2026 cover artist) <\/a>matched Chaieb with a clear natural tenor capable of scaling Don Jos\u00e9\u2019s wide range while projecting the character\u2019s dramatic nature to the entire hall. His performance of the signature Act II serenade \u201cLa fleur que tu m\u2019avais jet\u00e9e\u201d was crafted with a thoughtful tempo that bloomed with emotion, although I would have liked a more forward pulse in the middle section.<\/p>\n

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Arturo Chac\u00f3n-Cruz, & Rihab Chaieb. Op\u00e9ra de Montr\u00e9al, Carmen.
Cr\u00e9dit photo: Vivien Gaumand et l\u2019Op\u00e9ra de Montr\u00e9al<\/p>\n

Ethan Vincent brought an impactful presence to Escamilio, but his vocal entrance with the Toreador\u2019s song showed a woofy over-darkened tone. Magali Simard-Gald\u00e8s brought a sensitive interpretation to Mica\u00ebla, at times vulnerable and at other times, determined. Her light soprano fit the character well, and largely matched the needs of her Act III aria.<\/p>\n

Canadian baritone Stephen Hegedus played the role of the disagreeable Lieutenant Zuniga with panache, his voice projecting strongly. The supporting cast of bandits, Fasquita, Mercedes, Morales and Remendado were brilliantly performed by Atelier lyrique members Emma Fekete, Tessa Fackelmann, Dante Mullin Santore and Rocco Rupolo. The only disappointment was Jamal Al Titi\u2019s weak vocal entrance as Corporal Dancaire at the start of the opera.<\/p>\n

The OdM Chorus and Les Petits Chanteurs de Laval \u00a0provided effective support, the latter bringing some youthful energy and amusement. Jean-Marie Zeitouni led the Orchestre Metropolitain with nuance, giving many passages breath and rubato.<\/p>\n

Overall, the vocal performances on this production surpassed the Op\u00e9ra de Montr\u00e9al\u2019s 2019 production which featured the staging of renowned filmmaker Charles Binam\u00e9 and was widely panned.<\/p>\n

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Op\u00e9ra de Montr\u00e9al, Carmen.
Cr\u00e9dit photo: Vivien Gaumand et l\u2019Op\u00e9ra de Montr\u00e9al<\/p>\n

Gripes<\/p>\n

In order to keep the evening just under three hours, the production only offered one 25-minute intermission. This meant that the transitions between Acts I & II, and Acts III & IV required the audience to remain in their seats for 2 minutes at a time, as requested through the surtitles. Unfortunately, the audience wasn\u2019t clear when the next Act began (no surtitle message was given to signal this) resulting in the introductory music being drowned out by the continued audience chatter. Also, it didn\u2019t help that the curtain remained down initially or that the orchestra played so softly.<\/p>\n

The sets originally created by the Edmonton Opera under the stage direction of Anna Theodosakis were generally suitable. To help supporting singers better project their voices in the cavernous Salle Wilfrid Pelletier, they could have been positioned closer to the background wall.<\/p>\n

I must admit that watching Carmen doesn\u2019t give me the same enjoyment as in the past. Although at its core, the opera is a celebration of the life of a carefree enchanting gypsy, in today\u2019s climate, it\u2019s really a story about femicide. The domestic violence and brutal murder is difficult to watch unfold. Perhaps, the subdued audience response to to the harsh ending is reflective of that.<\/p>\n

Opera de Montreal\u2019s production of Georges Bizet\u2019s Carmen continues May 10, 2026 (2 pm) and 12, 2026 (7:30 pm). Tickets are still available. Note, ticket surge pricing starts at $200. www.operademontreal.com<\/a><\/p>\n

See Also:<\/p>\n

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