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Cool and Hot CARMEN...
(Boston Phoenix)
Bizet's CARMEN is always welcome. Boston Lyric Opera's production in 2002 on Boston Common attracted more than 50,000 people with Jossie Perez, the young mezzo who sang the role. Bizet's masterpiece works even better close up, and with a more grown-up heroine, so Giorgio Lalov's irresistible touring company, Teatro Lirico D'Europa, provided an even more compelling evening of musical theater. At the heart of this production were gripping performances by the two central characters, especially American mezzo soprano Kirstin Chavez in the title role. Chavez is a dark haired beauty whose plush voice fills this role as effortlessly as a quarter slides into a parking meter. She can dance and even play the castanets. She knows what every word means and what every syllable intends. Jeffrey Springer's big, well-produced voice met the increasing demands of Don Jose. The earthy-voiced chorus is one of Teatro Lirico's strongest attractions. Once again Teatro Lirico provided us with a satisfying, moving and witty performance of an opera, because it did the most important things right. -- THE BOSTON PHOENIX - Lloyd Schwartz - April 2005
 

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CARMEN makes one's heart sing...
(Boston Herald)
There were many positive elements to Teatro Lirico D'Europa's production of Bizet's CARMEN. But those of us who were there will doubtless remember the evening for the thrilling performances of mezzo Kirstin Chavez and tenor Jeffrey Springer as the fearless gypsy and the soldier who loves her - to death. Chavez has been attracting more and more notice in the opera world during the past few years and it was easy to see why. She's beautiful, she's a terrific actress and she has a lovely mezzo sound that she produces with ease throughout the range. There's a natural smile in her voice that stood her in good stead. I certainly can't recall seeing a Carmen have such a swell time - toying like a cat with her Don Jose. Springer's portrayal of Jose was equally vivid. His robust, bronze-tinged tenor filled the Majestic with powerful sound from start to finish. Conductor Krassimir Topolov got a strong, no nonsense reading from the players. The staging by Giorgio Lalov was vivid in the intimate interactions of the leads including the beautifully bright-voiced Veselina Vasileva (Micaela) and charismatic Vladimir Samsonov as winning toreador Escamillo. -- BOSTON HERALD - T. J. Medrek - March 2005
 

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Ensemble Cast Sizzles in Teatro Lirico's CARMEN...
(Boston Globe)
Last night's performance of CARMEN really cooked. Credit goes to the excellent Bulgarian ensemble of chorus and orchestra and two Americans in the starring roles. Kirstin Chavez has sung the role at the New York City Opera. She's physically and vocally limber, and revels in her femme-fatale looks. She has a bright lyric mezzo with a strong top and sings with many a teasing, personal, and humorous inflection. She can play the castanets, and she acts up a storm, while always keeping her place in the ensemble effort. Tenor Jeffrey Springer has a strong, tireless voice with good high notes. His desperation, despair and degeneration were palpable. Veselina Vasileva brought fervor and gleaming high notes to the role of Micaela. Vladimir Samsonov was the swaggering toreador Escamillo. He seemed to be having fun and acted with supreme self-congratulation that fits his character. Viara Zhelezova unleashed a formidable sound as Mercedes and the smugglers were terrific. The chorus poured out tone that left the ears ringing and the orchestra did some elegant work for Krassimir Topolov who kept things moving along in a stylish way. Giorgio Lalov's simple, sensible production gave his stars plenty of leeway to do their own thing.  -- THE BOSTON GLOBE - Richard Dyer - March 2005
 

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Two casts of CARMEN at Majestic Theatre Boston...
(OperaOnLine.us)
March 23 (Chavez/Springer)

Teatro Lirico D'Europa rolled out its big guns at Emerson's Majestic Theatre in Boston last night and offered up to the audience a CARMEN that at times soared in the manner of its delivery from an outstanding cast that gave its all. The bright spot of this opera was the riveting performances from a cast that oozed talent, vocally and as actors. We were told to expect something special from mezzo-soprano KIRSTIN CHAVEZ, and WOW did she deliver! Saucy, sexy, playful, flirtatious, and gifted with a voice that is rich and smooth in tone and range - she is a perfect Carmen, with long, curly black hair, facial expressions and body movements that spoke to every man in the audience. When she danced and sang with castanets the temperature in the theater went up several degrees. This woman has talent and really manages to get inside her character. Brava! Veselina Vasileva (Micaela) has a beautiful strong soprano voice and was able to breathe feeling into her character hitting all the highs effortlessly and projecting her voice with grace and style. Tenor Jeffrey Springer, who sang the role of Don Jose, was simply outstanding in the role. He has a clear tenor voice that rides the tops beautifully and with no apparent effort or stress. He remained strong throughout the performance and gave truly memorable acting moments. Well done! Another worthy performance in a series of truly worthy performances came from Vladimir Samsonov, who seemed to really enjoy the role of the Matador. He sang well and strutted his stuff in a hammy sort of way that was infectious and suitable for the part. The entire supporting cast did well, as did the Flamenco Dancers from the BALLET ARABESK who I would like to have seen more of. The singing of soprano Liubov Metodieva as Frasquita and Viara Zhelezova as Mercedes were strong and articulate. The smugglers Giorgio Dineff as Remendado and Hristo Sarafov as Dancairo were equally well performed, both vocally and as actors. 

March 26 (Ibragimova/Hayes)

Last night Teatro Lirico D'Europa completed its Boston run of CARMEN with a new Don Jose, Michael Hayes, and a new Carmen interpreted by mezzo-soprano Galia Ibragimova. The rest of this outstanding cast remained the same with an even better performance by Veselina Vasileva as Micaela, who simply blew the roof off the house with her dynamic voice and powerful delivery, time and time again. Kudos to the orchestra as well. The orchestra delivered mightily and with depth. Krassimir Topolov gave Boston audiences something to remember in the nature of a beautifully and sensitively delivered score that added immeasurably to the pleasure of this CARMEN. Ms. Ibragimova gave us a different Carmen: more earthy, mature, less temptress, more threatening. The audience loved it, and Ms. Ibragimova earned the applause. And then there is Michael Hayes in the role of Don Jose. This guy can sing and act. He put both talents to good use as he poured his heart into the role. Michael Hayes has the power of delivery that makes his tenor a commanding one. His high notes fill the hall and the passion of the moment is driven home in acoustical waves of delight and awe that clearly mark this singer as a major talent. He delivers the goods in a manner that spells STAR! Well done! Teatro Lirico D'Europa can add another notch to its impressive winning belt with this Boston run of Carmen. Both casts, both performances were treats for Boston's growing opera audience. -- OPERAONLINE.US - Paul Walkowski - March 2005
 
 

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New Jersey Performing Arts Center, Newark

On March 18 Teatro Lriico D'Europa performed G. Bizet's popular opera CARMEN for a jam packed audience at the 2,500-seat New Jersey Performing Arts Center in Newark. Stage director Giorgio Lalov presented a traditional retelling of the story aided by solid looking scenery and elaborate costumes by Valetine Topencharov. Since three excellent flamenco dancers from Ballet Arabesk travel with this company, the presentation included dances that were an integral part of nineteenth century French opera performances but seldom seen these days.

The titlle role was sung by a rising star in the operatic firmament, Kistin Chavez. She has sung at the New York City Opera and will make her debut at the Metropolitan Opera next season. A charistmatic, green eyed seductress, this Carmen was as irresistable to the audience as her stage lovers. Her voice was even throughout its registers with luminous high notes and luscious, creamy chocolate low tones. Here the herioine was much more than a mere sex symbol. Beneath the suave veneer was a woman who knew full well that her actions could have fatal consequences. 

Jeffrey Springer was a strong Don Jose who sang with a smooth legato and ringing top tones. He portrayed an impulsive character whose reaction to a stressful situation was violence. Moldovian baritone Vladimir Samsonov sang his Toreador Song with powerful, robust tones as he strutted across the stage like a champion bull fighter.

Veselina Vasileva was a poignant Micaela who sang her lovely third act aria with lusterous silvery tones that soared over the orchestral accompaniment. An accomplished actress, the soprano made every onlooker feel her fear. Another soprano with beautifully blooming top notes is Liubov Metodieva who sang Frasquita.

Krassimir Topolov conducted the Sofia Sympjony in a brisk but intense rendition of the beloved masterpiece and the audience reacted with tumultous applause at the end of the evening. -- OPERA JAPONICA - March 2005

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CARMEN AT KRAVIS CENTER...
(West Palm Beach Florida)
The setting, performance and acoustics were a treat to both eyes and ears and well received by the sold out audience. A theatrical production gives theatergoers an escape from reality and 2 hours of pure pleasure. This goal was accomplished by the Teatro Lirico D'Europa's production of CARMEN, played to perfection by Galia Ibragimova. Her love of the peasant life and her lovers in Seville, and the supporting cast of soldiers and flamenco dancers combined into a flawless presentation under the direction of Giorgio Lalov. The conclusion was a standing ovation which touched the hearts of both singers and audience. -- West Palm Beach, OUT2 NEWS, February 2005

Sensual CARMEN heats up Lied

A sold out Lied Center crowd was on hand Saturday for the Teatro Lirico D'Europa's production of CARMEN.

Kirstin Chavez, the stunningly beautiful mezzo soprano gave us a CARMEN as sensual as Marilyn Monroe, as bright as Kathryn Hepburn and down to earth as Sandra Bullock.  Chavez held all eyes. She also held all ears. Indeed, Chavez' dramatic range, pitch-perfect intonation, and dramatic ability to make us understand her character's innate sense of joie de vivre and apprehension, drew us even closer to  Merimee's transcendent yet doomed creation. Defiantly throwing her raven locks at the constraints of the Spanish patriarchal society, the exotic Chavez teased and taunted with an effort no less devastating than Sharon Stone in BASIC INSTINCT. Chavez leveraged her pinup girl good looks with a repertoire of come-hither gestures that kept men in the cast and audience spellbound. Whether thrusting her bosom forward, or standing haughtily with hands on hips or flashing her million dollar smile, Chavez held all in rapture. 

We were also treated to the singing and acting talents of tenor David Corman who gave us a substantive Don Jose. Igor Denisov's Escamillo, the matinee idol bull fighter, and Veselina Vasileva's Micaela, the girl ditched by Don Jose for Carmen, were impressive. The super titles above the Lied's proscenium arch provided efficient translations of the French lyrics adding greatly to the audience comprehension and enjoyment. And of course there was the ever magnificent music of Bizet, brought to vivid vocal and orchestral life under the capable baton of Krassimir Topolov. The evening's most indelible spell was that cast by the luminous Chavez, who proved why she's opera's next big thing! -- TOPEKA CAPITAL JOURNAL, Chuck Berg, March 2005

A sold out house waited Saturday evening for the opening curtain of Teatro Lirico D'Europa's CARMEN at the Lied Center. The role of Carmen was sung by Kirstin Chavez. Her silky mezzo soprano was perfect for the role, and she looked the part of the fiery and sensuous gypsy, taking control of the stage in her opening "Habanera" scene as she slithered barefoot across the stage, flirting with one man after another. 

The soprano Veselina Vasileva as Micaela sang the part impressively. Her performance in Act III "Je dis que rien" was a high point, rocking the second balcony with high Cs and concluding with prolonged applause. Igor Denisov, a veteran of St. Petersburg State Opera and Opera Bolshoi, showed a commanding stage presence as Escamillo. The young Liubov Metodieva has a splendid soprano voice and evidently has a career before her. Costumes were colorful, with many flounced dresses in plentiful supply. The stone and brick urban setting, lighted in warm earth tones was quite satisfactory. The orchestra performed well, with especially nice work by bassoon, flute and harp. The subtitles were rendered in lively colloquial English and were a welcome addition. -- JOURNAL WORLD, Dean Bevan, March 2005

You'd think after 3,000 performances, Teatro Lirico D'Europa would present a cast short on energy and long on going through the motions. On the contrary. Teatro Lirico gave a buoyant performance of CARMEN filled with lovely singing, sharp acting and an entertaining comedic sensibility. David Corman did a fine job playing Don Jose. He has a sweet and muscular tenor, able to break glass one moment and hold your breath the next. His ability to release Jose's agony at story's end effected the right amount of pathos. Galia Ibragimova was a wonderful Carmen. Ibragimova kept the humanity in Carmen and didn't allow her to devolve into a gross cartoon of wantonness. Instead, the mezzo -soprano was, at turns, saucy, demure, coquettish and sexually aggressive. All the things that make- a world class Jezebel. And Ibragimova's voice was as rich in color as CARMEN is rich in allure. The conflicting themes of fate, love and freedom made sense to the capacity audience last night, evoking a standing ovation. -- SAVANNAH NOW, John Stoer, February 2005