In concert format, 'Carmen' enchants

The children's chorus added its voices for a wonderful job.
By ROBERT ROLLIN
VINDICATOR CORRESPONDENT
WARREN -- Saturday night's Warren Philharmonic program at Christ Episcopal Church was an outstanding performance of Georges Bizet's opera "Carmen."
Although the performance was in concert format, a small procenium, limited costuming and, above all, a talented cast, made for a wonderful evening.
Maestra Susan Davenny Wyner kept things moving, and periodically provided excellent commentary to link the sections into a dramatically effective whole. Her control of balance between singers and orchestra was excellent, a job made easier by the singers' professionalism.
Cast
Leading the cast as Carmen was mezzo-soprano Julia Ann Wolf, whose vocal color was quite uniform and controlled. She had a wide dynamic range, and the remarkable ability to sing softly and yet be heard over the orchestral tutti.
She was enchanting in the famous "Habanera," where she exposes her mercurial temperament, and in the "Seguidilla," in which Carmen seduces Don Jose into releasing her from her bonds and escapes from the jail.
Tenor Richard Crawley was very good as Don Jose, providing excellent ensemble singing in the duet after the "Habanera," when Carmen first attracts him by throwing him a rose. His voice lacked the coloristic purity of Wolf's, but his acting ability was excellent.
Crawley was especially effective in the renowned Act II "Flower Song," expressing his love and feelings for Carmen with fine singing and convincing gestures.
Lyric soprano Misook Yun gave the role of the ingenuous Micaela the sweetness required, and sang with a purity of tone that was immediately attractive. Despite being limited to two arias, her performances were memorable.
Baritone Brian Keith Johnson enlivened the role of Escamillo, the toreador, with his powerful yet darkly colored voice. The role class for a wordly expansiveness and charm that seemed to come naturally to Johnson.
Lending support
The "Toreador Song," known to anyone even slightly familiar with opera, was very effective, and was supported by a wonderful children's chorus and the two female gypsies.
Johnson directed the choral preparation of these inner-city children with fine results. He sat with the chorus in between numbers, evidencing his rapport and affection for the children. Davenny Wyner and the orchestra added a sincere and convincing dimension to the orchestra's outreach program by incorporating the inner-city youth choirs into the production.
Soprano Nita Baxani and mezzo Sandra Ross supplied an entertaining aspect to their respective roles as the gypsies Fasquita and Mercedes.
The opera began with their surprise entry from the auditorium rear, ostensibly after leaving the cigarette factory where they worked.
Baxani was especially vivaciously attractive, and both sang with exceptional accuracy, perfect ensemble, and with beautiful vocal color.
The orchestra performed the "Prelude" and the three "Entr'actes" with consistent skill. The lovely woodwind solos were especially effective throughout.