Carmen came as quite a shock to the first night’s audience at the Opéra-Comique, where it premiered in 1875. The Comique was a theater in which the traditional fare was somewhat lighter than this tale of obsession and murder. The intense passion and drama central to Carmen and Verdi’s Otello (also being produced by DMMO this season) were the great forerunners of the hot-blooded operas of Giacomo Puccini and the verismo genre, but there is a great deal more to Carmen than extreme emotion and earthy vitality. It is the astonishingly original product of a gifted musician and composer.

Georges Bizet (1838-1875) is essentially a one-hit wonder who gained his international reputation based on the eventual success of Carmen. In 1872, Bizet was invited by the Opéra-Comique to collaborate on a full-length opera with librettists Henri Meilhac and Ludovic Halévy. Bizet’s choice of subject was Prosper Mérimée’s shocking and sensual novella, “Carmen.” The first performance was presented on March 3, 1875, and was an unqualified disaster. The Opéra-Comique had been regarded as a “family” opera house and the “obscenity” of showing the murder of a woman onstage was considered contemptible, resulting in near riots in the theater and the resignation of members of the administration over the story. The orchestra objected to the difficulty of their parts and the chorus complained that their music was unsingable. Also shocking and unusual in Carmen was the on-stage depiction of lower-class characters, such as gypsies, smugglers, and cigarette factory girls who smoked and brawled onstage. But most of all, audiences objected to an immoral and seemingly promiscuous heroine. Bizet was devastated by the failure of the first performance and he died three months and two heart attacks later at the age of 36.

Fate eventually changed Carmen from failure to success. Audiences were won over by the tale and the glorious music and ticket sales soared. By 1905, it had achieved the milestone of its 1,000th performance. Today it is the most-performed French opera. Modern audiences may be desensitized to what was once considered shocking, but the immediacy of the tale and the gloriously familiar music continue to win over new fans around the world. Bizet was one of the few composers to achieve a genuinely individual style despite the large shadows cast over the world of 19th century opera by Giuseppe Verdi and Richard Wagner. Although he died at a young age, Bizet’s influence can be heard in the works of Jules Massenet and most noticeably in the music of Pyotr Ilyich Tchaikovsky.

by McB Smith

Janara Kellerman, a mezzo-soprano originally from Cedar Rapids, Iowa, is a familiar face to DMMO audiences. Last summer, we saw her in The Magic Flute as one of the Three Ladies and in Rigoletto as the sultry Maddalena. Over the years, she has sung the role of Lady Essex in Gloriana, Suzuki in Madama Butterfly, Venus in Orpheus in the Underworld, and Vera Boronel in The Consul. A graduate of Simpson College and a former member of our Apprentice Artist Program, Janara has also appeared in DMMO's productions of The Tales of Hoffmann, Ariadne auf Naxos and La Rondine.

Recently, she has worked with New York City Opera, where she covered the role of Malcolm in La Donna del Lago, as well as appearing as a soloist in the VOX Composer's Showcase. She also did Pirates of Penzance with Lyric Opera of San Antonio and Rigoletto with Dubuque Opera.

I spent some time with Janara and asked her a few questions, just to get to know this amazing performer a little bit better.

What brings you back to DMMO?
I love coming home to DMMO and I think it is the perfect place to debut the role of a lifetime with a company that means so much to me.

What can you tell us about your preparation for this season/this role?
Singing the title role in Carmen is all about stamina. Physically - she is in most of the opera and along with the vocals, there is a lot of movement and dancing so Carmen has to be in great physical shape; but then also, emotionally, she is a fiery character so it is very important for a singer to vocally pace herself and not get too caught up in the drama.

How do you feel the Apprentice Artist Program affected your career?
The special thing about the Apprentice program at DMMO is that you are a main focus of the summer season. The performance opportunities are unbelievable and something you don't find at a lot of other programs.

What was the last book you read?
I am rereading the Harry Potter books to prepare for the big #7 coming out this summer. I know, I'm a geek.

Finish this sentance, "I cannot go onstage without ..."
I am a pretty low maintenance singer with not a lot of "ritual" before I go onstage, but one must NEVER forget a touch-up of the hair and make-up.

What is your favorite opera? Why?
Honestly, Carmen happens to be one of my favorite operas. A little bit for selfish reasons, because I think she is one of the most incredible characters in all of opera, but I think there is so much great music and I love the variety throughout the opera. There are incredibly beautiful and intimate moments, high drama moments and big spectacular scenes. I think this opera has it all.

What is playing in your CD player or iPod right now?
Rossini's La Donna del Lago - I am in a production of it right now and a bit obsessed at the moment.

Dr. Robert Larsen has once again assembled an amazing cast for this production! There will be familiar faces as well as artists making their DMMO debuts. Artistic Administrator and audition coordinator Michael Egel says, "this extraordinarily talented young cast will embody their roles. In addition to fine vocal performances, they'll bring a great deal of reality and drama to our stage."

Joining Janara onstage will be Scott Piper as Don José, Karin Wolverton as Micaëla, Brandon Mayberry as Escamillo and Matthew Lau as Zuniga. Keep reading to learn more about all of these outstanding singers.

Scott Piper, a tenor from Kirksville, Missouri, will make his DMMO debut this summer as our Don José, a role he recently performed with New York City Opera. He is also fresh from a performance on the other coast, as Rodolfo in Seattle Opera's La Bohème. He recently sang Alfredo in La Traviata at the Teatro Verdi in Busseto, Italy. After appearing at DMMO, Scott will be singing with Utah Opera, the Jacksonville Symphony, Florentine Opera and the Intermountain Music Festival.

Karin Wolverton, a former Apprentice Artist, is a soprano from St. Paul, Minnesota. She returns to DMMO to sing our Micaëla, a role she sang for Minnesota Opera. Audiences will remember Karin's beautiful portrayal of Anne Trulove in last summer's The Rake's Progress. In 2005, she sang the role of Antonia in The Tales of Hoffmann, as well as that of Queen Elizabeth's Lady-in-Waiting in Gloriana. She recently sang Fiordiligi in Piedmont Opera's Cosí fan tutte, Antonia and Donna Anna (Don Giovanni) at Minnesota Opera, and Giulietta (Hoffmann) and Princess Margaret (The Student Prince) at Central City Opera. After DMMO's season, Karin will next head west to sing the role of Sara in The Grapes of Wrath with the Utah Symphony & Opera.

Brandon Mayberry, a bass-baritone from Chicago, Illinois, will make his DMMO debut as our Escamillo and will also sing Theseus in A Midsummer Night's Dream. Recently, Brandon has been singing with the Lyric Opera of Chicago appearing in Turandot, as well as the Renee Fleming Subscriber Appreciation Concert and the Rising Stars in Concert. While at the Lyric, Brandon also sang Guglielmo in Cosí fan tutte with the Ryan Opera Center (formerly Lyric Opera Center for American Artists). You'll be able to see him in various recitals at the Ravinia Festival in affiliation with the Steans Institute later this summer.

Matthew Lau is a bass from Michigan City, Indiana. In addition to singing Zuniga in Carmen, he'll also portray Lodovico in Otello this summer. No stranger to DMMO's stage, Matthew has been seen as Figaro (Le Nozze di Figaro), Leporello (Don Giovanni), Rambaldo (La Rondine), Banquo (MacBeth), Colline (La Bohème), and a Secret Police Agent (The Consul) here. Since his last season with DMMO, he has performed with Toledo Opera, Nevada Opera, the Jacksonville Symphony, and the Boston Lyric Opera. Following the DMMO season, Matthew will travel to Nevada Opera for a production of The Mikado, to Florentine Opera for The Merry Widow and to Pensacola Opera to sing Sarastro in Die Zauberflöte.

Carmen: An Opera in Four Acts
Libretto by H. Meilhac and L. Halévy, adapted from the novella by Prosper Mérimée

The Cast
Don José, Corporal of Dragoons
Escamillo, a toreador
Zuniga, Captain of Dragoons
Morales, an officer
Lillas Pastia, a tavern keeper
Carmen, a gypsy
Micaëla, a village maiden
Frasquita, a gypsy
Mercedes, a gypsy
El Dancaïro, a gypsy smuggler
El Remendado, a gypsy smuggler

Setting: Spain, about 1820

Act I:
The brigadier Morales and soldiers of the guard are wandering idly about the square.  They spy a charming young lady in the native dress of Navarra.  Her name is Micaëla, and in speaking with her they learn that she is looking for Don José.  She is told that he will come with the changing of the guard, but rather than remain with them until he arrives, she runs away.

The relief detail arrives and Morales tells José about the visit of Micaëla.  The Captain, Zuniga, newly assigned to the regiment, chats with José about his fiancée and about the girls who work in the cigarette factory on the square.

The girls come out on their break.  Among them is the beautiful and popular gypsy, Carmen.  She flirts with the men in the crowd and finally singles out José – throwing him a cassia flower, the flower of gypsy witchcraft.

After everyone leaves, José is troubled by the flower, but his reverie is interrupted by Micaëla who brings a letter and a kiss from his mother in Navarra.  Micaëla leaves while José reads the letter and promises to himself to marry the girl as his mother wishes.

Suddenly screams are heard from the factory and José is sent inside to learn the cause.  Carmen has stabbed another girl in a fight.  The Captain orders that she be imprisoned.  Left under the guard of José, Carmen invites him to a rendezvous at the inn of Lillas Pastia if she is allowed to escape.  Completely under her spell, he loosens her bonds, and as they set out for the prison, she pushes him to the ground and escapes.

Act II:
In the smoke-filled tavern, gypsies dance.  Carmen and her friends, Frasquita and Mercedes, are with Morales and Zuniga.  Zuniga tells Carmen that José was imprisoned for his “carelessness” but was released a few hours ago.

The bullfighter Escamillo appears, hailed by the crowd.  He is fascinated by Carmen and leaves with her name on his lips.  El Dancaïro and El Remendado plan a smuggling venture with Frasquita and Mercedes, but Carmen refuses to accompany them.  She tells them that she is in love with the dragoon who released her and that she will repay him with her love.

José is heard approaching.  Carmen dances for him and needles his jealousy.  When the call of Retreat is sounded from the barracks, he says he must go.  But she taunts him with accusations of cowardice.  He professes his great love and starts to leave, even in the face of her denunciations.  Captain Zuniga, returning to see Carmen, stops him in his flight.  The men fight, and the gypsies intervene.  Zuniga is put under guard, and José has no choice but to join the smugglers.

Act III:
The smugglers are making camp for the night.  Carmen and José bicker, and it is clear that she no longer is in love with him.  Carmen, Frasquita, and Mercedes amuse themselves by telling their fortunes in the cards.  Carmen repeatedly sees only death in store for her.  The women are commissioned to distract the customs officials at the pass.

José is left on guard.  A guide leads in the weary Micaëla who hides when she sees José fire at a lone figure, which turns out to be Escamillo.  The bullfighter has journeyed to find Carmen with whom he is in love and whom he has heard has become disenchanted with her soldier friend.  José makes his identity known.  They fight but are separated by Carmen and the gypsies.  Escamillo leaves but invites Carmen to Seville for his next fight.  José is plunged into a jealous rage.

Remendado stumbles upon the hidden Micaëla.  She tells José that his mother is dying.  Before leaving with her, José tells Carmen that she belongs to him.

Act IV:
Crowds are preparing for the festive Corrida at the Plaza de Toros in Seville.  After the procession, in which Escamillo and Carmen take part, Frasquita and Mercedes warn Carmen that José lurks in the crowd.  Carmen does not go in with the others.  José appears and pleads for her love but is answered with disdain.  As crowds celebrate Escamillo’s triumph in the bullring, Carmen proclaims her love for the torero.  She throws José’s ring to the ground and he stabs her.  The returning crowd finds him huddled grief-stricken, over her body.

When: April 12 at 7:00 pm
Where: Levitt Auditorium at the Des Moines Art Center 

Join Des Moines Metro Opera's Artistic Director, Dr. Robert L. Larsen, in an interactive discussion about the upcoming 35th Anniversary Season. Dr. Larsen will preview the three operas, including a first look at some of the scenic elements being specially constructed for the season. In addition, participants will be able to ask the questions they've always had about producing opera, including repertoire choice, casting, stage direction, and more. Admission is free and open to the public. 

All three chapters of the Guild continue this month and next with previews of DMMO's summer operas. It's easy to learn more about this summer's productions...there are Guild meetings in Ames, Des Moines and Indianola.

Here is a brief list of the Guild's upcoming events:

AMES
April 10, Jean Meek will preview A Midsummer Night's Dream by Benjamin Britten
May 8, Wayne Beal will give a presentation entitled "Carmen: Was It Murder Or Was It Suicide?"

All previews will be held at 7:30 p.m. at St. John's Episcopal Center, located at 2338 Lincoln Way in Ames. Refreshments and conversation will follow the presentations.

DES MOINES
April 9,  Michael Egel will preview Carmen by Georges Bizet
May 14, Professor Eric A. Saylor of Drake University will preview A Midsummer Night's Dream by Benjamin Britten
 
All previews will be held at 7:00 p.m. in the Fellowship Hall of Central Presbyterian Church, located at 3829 Grand Avenue in Des Moines. Refreshments and conversation will follow the presentations.

INDIANOLA
April 10, Michael Egel will preview Carmen by Georges Bizet at 7 pm in Julia Hagen's home at 709 Scott Felton Road.
May 3, Michael Egel will preview Otello by Giuseppe Verdi at 7 pm in the DMMO offices at 106 W Boston Avenue.

Please note: Maria DiPalma's preview of A Midsummer Night's Dream by Benjamin Britten was postponed due to inclement weather. It has been rescheduled for May 15th in home at 411 West Ashland.