“Carmen” reviewed by Frank Meccia

****/**** must see

I have attended opera for over fifty years, in large and small houses, from grand companies to intimate productions. Yet sometimes the most exciting evenings happen where you least expect them. I must admit, I never fully realized the depth and magnitude of the opera program at Northwestern University’s Bienen School of Music until this weekend.

At Cahn Auditorium, I experienced a four-act performance of Carmen by Georges Bizet that rivaled many professional opera houses I’ve encountered over the decades. This production, featuring a combination of undergraduate and graduate students, proved that the future of opera is not only alive, but thriving in Evanston.

In the title role, doctorate student Marie Engle delivered a Carmen that was nothing short of electrifying. She embodied the vixen gypsy with effortless charm and dangerous allure — a woman who loves intensely, but only briefly, before moving on to her next conquest. Engle’s voice is already prepared for the great opera houses. Her projection and vocal force filled the entire auditorium with richness and authority. This is a name we will undoubtedly be hearing on major stages in the coming years.

Opposite her was Conner Leavitt as Don José, the naïve corporal whose passion turns destructive. A tenor with a strong, expressive instrument, Leavitt captured the emotional unraveling of a man who confuses obsession with love. Every time I see Carmen, I find myself thinking the same thing about Don José: he is a man who thinks with the wrong head and fails to understand that true love does not end in murder. Leavitt made that tragic flaw painfully clear.

Micaëla, sung by Maya Behiri, currently completing her master’s degree after graduating from Tel Aviv University, was luminous. Her soprano voice carried both purity and power. She possesses the vocal control and emotional sincerity that suggest an international career is well within reach.
Walter Aldrich as Escamillo, the dashing matador, brought commanding baritone warmth and charisma to the stage. Also in the doctorate program, he displayed the poise and vocal maturity of a seasoned professional.
Under the stage direction of Joachim Schamberger, the production moved with cinematic clarity and dramatic precision. The 52-piece orchestra, led by conductor Patrick Furrer, was simply magical — vibrant, balanced, and emotionally responsive to every nuance on stage.
The visual elements were equally impressive. Scenic design by Steven C. Kemp, with sets provided by the Florentine Opera Company, created a fully realized world. Costumes by Jana Anderson added authenticity and color, reinforcing the passion and pageantry of Bizet’s score. Nothing about this felt like a “school production.” It felt grand, polished, and deeply professional.
Now I understand why Northwestern’s School of Music is considered such a powerhouse. The investment in talent, production value, and artistic excellence is unmistakable.

This production runs through Sunday, March 1st at 3 p.m., with tickets priced at an astonishing $18 — unheard of for opera of this caliber. If you can spare three hours, do not miss it. Parking is easy, just a short five-minute walk from the auditorium at 600 Emerson Street in Evanston.
And if you miss Carmen, look ahead to May, when the school presents La rondine by Giacomo Puccini — a rarely performed gem that has only appeared a handful of times at Metropolitan Opera. I, for one, cannot wait.
Northwestern has proven that the next generation of opera stars is already here — and ready.