Classical Concert Reviews Cinci

@cincinnatiopera closed out its 2026 summer season with a truly spectacular production of Georges Bizet’s most famous opera, Carmen.
First performed in Paris in 1875, only three months before Bizet’s premature death at the age of 36, it has been a part of Cincinnati Opera’s core repertoire from the very beginning, first being fully staged at the Cincinnati Zoo in 1921. It is a work which requires true vocal stamina and dramatic prowess to be able to bring its uniquely fascinating characters to life, and the cast assembled for this 2026 opening performance delivered it in spades.
Mezzo-soprano J’Nai Bridges in the title role brought one of the more enigmatic, lustfully creative interpretations of the character yet seen on stage in Cincinnati, with a smoky, wistful and passionate vocal timbre that called to mind figures like Grace Bumbry and Shirley Verrett, particularly in the Chanson Bohème which opens Act II and her final extended duet with the lovelorn soldier Don José in Act IV. Tenor Matthew White as Don Jose, in this critic’s opinion, ranks as one of, if not the definitive performance of this role to come from any major American opera house in the last 20 years. His leggier timbre fits Bizet’s style of vocal writing like a glove, with a voice blooming with incandescent grace, passion and polished reverence, most especially in his Act II aria expressing his love for Carmen and his Act I duet with Micaëla.
Soprano Teresa Perrotta, making her Cincinnati Opera debut as Micaëla, truly inhabited the role, possessing a lovelorn ardor punctuated with heartbreaking weariness. Perrotta’s voice is one to watch: incredibly sensitive to each dramatic moment, full of lyric beauty and incandescent power (particularly in her Act III plea for Don José to be rescued from Carmen’s clutches).
Baritone Ryan McKinny as the proud bullfighter Escamillo, his debut role with Cincinnati Opera, was a joy to see and hear, even if the role is smaller than most audiences might expect. His voice was equally warm and robust and uniquely suited to characters of this nature.

Baritone Sam Smith turned in an engaging and enjoyable supporting performance as Don José’s commander Zuniga. While his voice could be described as reminiscent of greats such as John Tomlinson or Walter Berry, his dramatic command made for an impressive addition to this production. As Carmen’s two confidantes Frasquita and Mercedes, soprano Jeysla Rosario Santos and mezzo-soprano Kayleigh Decker were wonderfully high-spirited in their performances and made a fascinating team with El Dancairo and El Remendado, two smugglers sung by baritone Thom Dreeze and tenor Jack Keller, respectively. Perhaps the most fascinating supporting performance was baritone Nathan De’Shon Myers as the soldier Morales. Even though he mostly appeared in the opening scene of Act I, it seems he definitely made the most of the opportunity he was given to shine.
The Cincinnati Opera Chorus and children’s chorus (the latter mostly drawn from the Cincinnati Boychoir prepared by Jason Holmes and Andrew Miller), under the leadership of Chorus Master Henri Venanzi, truly gave it their all in their vocal contributions throughout the entire production. Men’s and women’s choruses individually representing smugglers and cigarette workers brought a fabulous clarity of line and musical power and passion.
Guest conductor Ramón Tebar, making his
first appearance at Music Hall as part of a Cincinnati Opera season since Roméo et Juliette in 2019, was a fantastic choice to lead the @cincysymphony through the glorious wonder that is Georges Bizet’s score. Tebar led with a sense of pulsating vitality and effervescent serenity and tenderness that permeated every moment of the score, especially in the overtures/entractes which preceded each act and numbers including the Act I Habanera.
It is fair to say that the 2026 season of Cincinnati Opera was a resounding success, as it brought a mix of popular masterpieces and uniquely creative new stories through operas like Salome and Lalovavi to a whole new generation of audiences who will grow to appreciate the power of storytelling through music and the importance of opera as a whole to the classical music landscape. Bravi tutti to all!