Carmen, the ultra-romantic opera composed by George Bizet with a libretto by Henri Meilhac and Ludovic Halevy, premiered for the 20th time in Pittsburgh this past weekend. This three-hour production has so far met with enthusiastic audiences for both performances (Saturday and Tuesday), and justifiably so. Maestro John Mauceri conducted and directed this operatic classic with great success. Every aspect of the opera was well done, from the sets to the masterful orchestral preparation.

The lead characters delivered everything one can expect from a leading opera company producing a famous opera. Viktoria Vizin, a Hungarian soprano, performed a very capable Carmen. Her low and sultry voice, appropriate for a gypsy seductress, carried through the hall without trouble. In her upper range, she was reminiscent of a '40s era Disney heroine. Though her singing was superb, she lacked a certain sassiness and edginess that is necessary to completely bring out her character. Vizin portrayed an unusually soft Carmen.

Her colleagues on stage followed suit. The two male leads, Yevgeni Shapovalov as Don Jose and Mel Ulrich as the charming matador Escamillo, also possessed great voices, which they used to communicate their characters to the audience. But they, too, were not quite able to fill out the large personalities demanded of their famous characters.

Carmen’s supporting cast, however, was phenomenal. Both the female and the children’s choirs were spectacular, demonstrating perfect intonation and diction. Carolyn Betty, playing Don Jose’s female friend Micaela, was a complete show-stealer. With her powerful yet beautifully feminine voice, she easily upstaged the other actors. Her aria in the second act was one of the highlights of the evening.

The Pittsburgh orchestra was superb as usual.  Under the baton of Maestro Mauceri, they played the popular overture and themes with a freshness that is uncommon in popular operas. The string section was especially diligent in their interpretation. They were able to produce a clear and meaty yet smooth sound over a variety of passages.

The costuming and sets were flawless as well, although they did not resemble the more abstract and avant-garde creations that have graced the stage of the Benedum lately. The sets were complex yet functional, providing an interesting, deep scene during the four acts. The wardrobe was typical of 19th century Spaniards and gypsies.

Overall, Carmen was a solid finale for the Pittsburgh Opera. Although this weekend is the last in their 2003-2004 season, it would be worthwhile to check out their 2004-2005 lineup of exciting operas, including La Traviata, The Marriage of Figaro, Faust, and Fidelio.