Editor's Desk

Elina Garanča’s Body Language

(Observations, Oussama Zahr, Performances) Permanent link

Some of the Met's revivals this season have been somewhat dispiriting for audiences and critics, so I am particularly grateful for Elina Garanča. Her interpretation of the Gypsy in Richard Eyre's production of Carmen, which I saw again last Tuesday night, has only improved with further outings. She has been criticized for "under-acting," but I find her calculating, fatalistic Carmen gripping. Garanča is at her best in Act IV: I have never seen a Carmen who physicalizes the final confrontation so breathtakingly. The way she works the train on her dress, whipping it through the rose petals strewn for the toreadors or collapsing into it when Don José tackles her to the ground — it’s an achievement in itself. spacer
OUSSAMA ZAHR


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Current Issue: January 2015 — VOL. 79, NO. 6