mprmike

The "Habanera" in Act I — a tune that has seeped into the consciousness of the majority of people on Earth — should be held in reserve, like tango. So on the edge of passion, in other words, that it becomes excruciating.

But Gouverneur, who has a marvelously creamy, alabaster voice, held it too much in reserve. There was scarcely any sexual ignition.

- Richard Scheinin, San Jose Mercury

A statuesque, doe-eyed beauty who bears a passing resemblance to the young Ava Gardner, Gouverneur certainly has the makings of a strong Carmen. Saturday, she introduced a large, velvety mezzo voice marked by rich, dusky tones and the high extensions that the role demands. If the voice occasionally emerged a little occluded in the lower reaches of her range, Gouverneur, for the most part, sounded voluptuous; the “Habanera” was sung with plush tone and smooth line that augured well for the rest of the evening.

- Georgia Rowe, San Francisco Classical Voice

Opposite Gouverneur, as Don Jose, the simple soldier she charms and seduces to no good end, was tenor Alexander Boyer. He sang with beautiful buoyancy and passion (the "Flower Song" in Act II was one of numerous highlights), while navigating his character's change from an Average Joe conformist to a stalker and killer of the woman he supposedly loves.

- Scheinin

As her Don José, Alexander Boyer also struggled to achieve verisimilitude. Despite a tendency to lose tone at full volume, the tenor’s warm, elegant singing was a decided asset (the “Flower Song” was both smooth and ardent), but he, too, seemed still in search of a character, and his scenes with Gouverneur had an awkwardly muted quality.

- Rowe

But most passionate of all, the real star of the show, was soprano Rebecca Davis, as Micaela, the good girl from Don Jose's hometown — and the woman he should be courting. Saturday, Davis had it all: lustrous colors, secure top-to-bottom singing with penetrating power and true operatic emotion. She was arresting.

- Scheinin

Rebecca Davis was simply miscast as Micaela, Don José’s village sweetheart. The soprano, who sang a lovely Fiordiligi for this company earlier in the season, returned Saturday sounding strained. Her Act 1 duet with Boyer lacked the requisite delicacy, and her scene in the Gypsy camp was unfocused and acidic.

- Rowe

[A]ll the choruses could sing with more volume and punch

- Scheinin

The chorus, under the direction of John Kendall Bailey, sounded well-rehearsed and vibrant

- Rowe

Ironically, the smashing success of this production may have been determined by a last-minute twist of fate that must have seemed disastrous at the time. In February, announced lead Andrew Ceglio had to pull out of the production for personal reasons, and Bay Area actor Robert Brewer stepped into the role of Bat Boy. Nothing against Ceglio, but Brewer is simply incredible.