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Carla Maria Verdino-S├╝llwold
Fanfare, January 2017

The singers are uniformly strong with the leading quartet in fine voice. Béatrice Uria-Monzon proves a dark-voiced Carmen, who plays the role with a steely kind of sexiness in a rather understated manner. …it is a performance which makes sense in its context and serves to make the character accessible. Alagna is in excellent voice, singing in the heart-on-sleeve all out manner for which he is known. His approach is not subtle either in terms of characterization—he is a pretty straightforward mamma’s boy whose macho ego easily leads him to violence—or vocally, but he is ardent and lyrical in a grand way. It is also a pleasure to hear him handle the French so naturally and effortlessly. Erwin Schrott is a flamboyant and sensuous Escamillo and brings to the role of the toreador a silky legato and infectious charm. Marina Poplavskaya sings a radiant Micaëla, and she portrays the ingénue character as much more strong-willed and independent than many other interpretations. The remainder of the gypsy and soldier ensembles provide fine support, and the Liceu chorus sings with zeal. © 2017 Fanfare Read complete review

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