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Soloists: Jon Ketilsson (Don José), Sam Handley (Escamillo), Patricio Arroyo (Dancairo), Louis Kim (Remendado), carpet cleaning brisbane Maximilian carpet cleaning brisbane Krumme (Morales), Pawel Ławreszuk (Zuniga), Sanja Radišić (Carmen), Katharina carpet cleaning brisbane Hagopian carpet cleaning brisbane (Micaela) , Astrid Pyttlik (Mercedes), Jelena Rakic (Frasquita)
Don José is in love with the gypsy Carmen. In a dispute carpet cleaning brisbane in the cigarette factory he must arrest this. Carmen Don José promises to love him when he lets her escape what he does. Don José joins the smugglers. But soon Carmen has no more interest in him and turns to the bullfighter Escamillo to. Don José accompanied Micaela to his dying mother. In Escamillo's bullfighting he sees Carmen again. She is now in love with the bullfighter José and has returned. carpet cleaning brisbane Out of desperation he stabs her.
A tobacco carpet cleaning brisbane factory: An empty hall with red steel pillars in the middle and meter high windows on the side. It is reminiscent of an old station hall. In the guest house scene white plastic chairs to be found. The bullfight is indicated by colorful lights and the image of a bull in the background. The soldiers, including Don José, wearing blue uniforms with a kind of Basque berets. The workers appear in beige overalls. Carmen looks in her black Seidennegligé (later carpet cleaning brisbane in the gray crochet dress) like a woman from the red light district. The dance scene in the second act is reinterpreted into a seduction scene in which Carmen lolls about Don José and oranges squeezing out on her body. Escamillo's clothing reminiscent of a businessman: He wears a suit and a white jacket. The staging shows no Spanish carpet cleaning brisbane local color, but a lot of sex and violence symbols.
With Carmen Kazem Abdullah makes his debut as the new music director in Aachen. During the overture he already pulls the already peppy pace even more. The first song number suffers a bit less; the vocals are several measures not quite in sync with the fast conducting. Sanja Radišić (Carmen) shines in the role of Carmen through the dark timbre of her mezzo-soprano. With a velvet voice she sings the Habanera in the first act piano. In sotto voce she emphasizes her role as mysterious seductress. She saves grand gestures and smiles smugly. From the second act singing and acting are temperamental: the tralala in Les tringles of sistres tintaient - The bars of the sistrum sound emphasizes Radišić onomatopoeic by changes in the low notes in the chest voice. Her singing partner Jon Ketilsson (Don José) has a tenor with a beautiful metallic height. In the duet Parle-moi de ma mère - Tell me about my mother with Micaela carpet cleaning brisbane his voice sounds in the high places were not forced, but round, big and shiny. Katharina Hagopian (Micaela) is also a good cast. In the third act it represents the aria Je dis que rien m'épouvante - Nothing can scare me with their heavy soprano is very legato exchange between the dramatic vibrato and breathy sotto voce succeeds well.. I should also mention Sam Handley (Escamillo), which represents the bullfighter with his powerful, smoky baritone. In the aria Torreador en garde - Torero on the hat he sings very energetic, especially in the low notes. Both theatrically and vocally stands out the interplay of Jelena Rakic (Frasquita) and Astrid Pyttlik (Mercedes). The duet is bell-clear soprano Rakićs complemented well with Pyttliks intense mezzo-soprano. carpet cleaning brisbane
The vocal performance of the evening is great. Kazem Abdullah off to a powerful carpet cleaning brisbane start out as a new conductor. Passionate vocals and fiery orchestral playing complement each other well. Sets and costumes look rather carpet cleaning brisbane sobering, Spanish accents are missing. carpet cleaning brisbane By good drama this is, however, made a little good. For Sanja Radisic, Jon Ketilsson and Katharina Hagopian the audience donates a great deal of applause.
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