"Carmen"

Last night, I went to see the Teatro Lirico d'Europa's production of "Carmen" in the Bill Heard Theatre of the RiverCenter for the Performing Arts. I went with my friend, Kathy Sweet, who had an extra ticket and asked me to go with her.

In actuality, it was just the third opera I've seen in person. The very first one was "Die Fledermaus," which may have been the first full opera produced by the Schwob School of Music. At least it was the first time it had been done in a while at Columbus State University.

I was actually in that opera. OK, so I didn't sing and I wasn't on stage, but I pretended to be a patron in a specially-built box. I was on stage right with a handsome young man who played in the college orchestra but had hurt his hand and couldn't play.

So I sat through several rehearsals and then two performances.

The next year, when the Schwob School did "The Magic Flute," I went to that as an audience member.

And I haven't seen a full opera since then.

"Carmen" has some of the most gorgeous music written. Ever. And some of the most recognizable.

During intermission, the RiverCenter's technical director, Steve Sweet, Kathy's husband, said he didn't know the "Toreador's Song" was from "Carmen." He hummed a few bars and laughed. "I thought it was something written by George M. Cohen," he said. Oh, Steve. "It sounds like 'Stars and Stripes Forever.' " Oh, Steve.

A couple of the singers were stand-outs, including Galia Ibragimova, who played Carmen, and Gabriel Gonzalez, who played Don Jose. They had full, rich voices. James Bobick was physically right for the bullfighter Escamillo, but his voice wasn't as rich.

But the two singers that everyone was talking about were Liubov Metodieva, who played Frasquita and Viara Zhelezova, who played Mercedes. They were the "comic relief," who did their bits and did it brilliantly. Oh, and they sang well, too.

The two flamenco dancers were excellent.

And the orchestra was really good. I thought the supertitles were a little lacking. I'd wait for a translation and it wouldn't be there.

The sets were really, really cheesy. I know it's a touring company, but, come on. I've seen better sets at the Downtown Magnet Academy's fourth grade operas. And they are built by 9-year-olds.

This was Teatro Lirico d'Europa's third trip to Columbus, having brought "The Magic Flute" and "Madame Butterfly." From what I've heard, reaction has been mixed for the quality of this company.

And I agree. Some of the voices are outstanding, others are so-so. The sets are nothing to write about.

I'm glad that we have the opportunity to see operas in Columbus.

I'm just waiting for Joseph Golden's students to do one this summer.

I'll make sure you know the details when I get them.