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With high anticipation, Montrealers have been waiting for years to hear Montreal native, mezzo-soprano Rihab Chaieb portray Carmen in a full production of Bizet’s best known opera. Opéra de Montréal’s current run of Carmen showcases Chaieb and features a strong cast of Mexican tenor Arturo Chacón-Cruz, Indigenous Mexican-American baritone Ethan Vincent and Canadian soprano Magali Simard-Galdès.
What you missed
As La Scena Musicale previously reported in 2019 and in our November 2020 cover story, Tunisian-Canadian Rihab Chaieb has the vocal fire, intelligence and bewitching charm to encapsulate the role. The Carmen we saw on Thursday, May 7, 2026 at Salle Wilfrid-Pelletier was a free spirit who was captivating, vulnerable and sympathetic. It starts with the voice – Chaieb’s dark and warm mezzo filled the hall. Her Act I Habanera was beguiling and her Seguidilla (“Près des remparts de Séville”) in Act II was seductive and could melt any Don José. She was equally strong in Act IV, adamantly rejecting Don José’s ultimatum.
Arturo Chacón-Cruz (La Scena Musicale April-May 2026 cover artist) matched Chaieb with a clear natural tenor capable of scaling Don José’s wide range while projecting the character’s dramatic nature to the entire hall. His performance of the signature Act II serenade “La fleur que tu m’avais jetée” was crafted with a thoughtful tempo that bloomed with emotion, although I would have liked a more forward pulse in the middle section.
Crédit photo: Vivien Gaumand et l’Opéra de Montréal
Ethan Vincent brought an impactful presence to Escamilio, but his vocal entrance with the Toreador’s song showed a woofy over-darkened tone. Magali Simard-Galdès brought a sensitive interpretation to Micaëla, at times vulnerable and at other times, determined. Her light soprano fit the character well, and largely matched the needs of her Act III aria.
Canadian baritone Stephen Hegedus played the role of the disagreeable Lieutenant Zuniga with panache, his voice projecting strongly. The supporting cast of bandits, Fasquita, Mercedes, Dancaire and Remendado were brilliantly performed by Atelier lyrique members Emma Fekete, Tessa Fackelmann, Jamal Al Titi and Rocco Rupolo. The only disappointment was Dante Mullin Santore’s weak vocal entrance as Corporal Morales at the start of the opera.
The OdM Chorus and Les Petits Chanteurs de Laval provided effective support, the latter bringing some youthful energy and amusement. Jean-Marie Zeitouni led the Orchestre Metropolitain with nuance, giving many passages breath and rubato.
Overall, the vocal performances on this production surpassed the Opéra de Montréal’s 2019 production which featured the staging of renowned filmmaker Charles Binamé and was widely panned.
Crédit photo: Vivien Gaumand et l’Opéra de Montréal
Gripes
In order to keep the evening just under three hours, the production only offered one 25-minute intermission. This meant that the transitions between Acts I & II, and Acts III & IV required the audience to remain in their seats for 2 minutes at a time, as requested through the surtitles. Unfortunately, the audience wasn’t clear when the next Act began (no surtitle message was given to signal this) resulting in the introductory music being drowned out by the continued audience chatter. Also, it didn’t help that the curtain remained lowered initially or that the orchestra played so softly.
The sets originally created by the Edmonton Opera under the stage direction of Anna Theodosakis were generally suitable. To help supporting singers better project their voices in the cavernous Salle Wilfrid Pelletier, they could have been positioned closer to the background wall.
I must admit that watching Carmen doesn’t give me the same enjoyment as in the past. Although at its core, the opera is a celebration of the life of a carefree enchanting gypsy, in today’s climate, it’s really a story about femicide. The domestic violence and brutal murder is difficult to watch unfold. Perhaps, the subdued audience response to the harsh ending is reflective of that.
Opera de Montreal’s production of Georges Bizet’s Carmen continues May 10, 2026 (2 pm) and 12, 2026 (7:30 pm). Tickets are still available. Note, ticket surge pricing starts at $200. www.operademontreal.com
See Also:
- Video | Behind the Scenes at Opéra de Montréal’s Carmen
- Arturo Chacón-Cruz: From “Cielito Lindo” To “Nessun Dorma”
- Rihab Chaieb: La Carmencita
- La Scena Tête-à-tête with Rihab Chaieb & Don Adriano
Note: this review was edited for an error on May 10, 2026
This page is also available in / Cette page est également disponible en:
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