![]() Though she’s a limited actress, her even-tempered soprano spun generous lines that complemented the leading couple’s intensity and earned her the afternoon’s longest mid-performance ovation (after “Je dis”). His natural chemistry with Thelwell even augmented the effect Katerina Burton has as Micaëla. The bottled-sounding quality of his voice lends itself well to French repertoire and the ease with which he colored his singing, including some beautiful voix mixte, gave his brusque Don José a believable air of desperation. Her partner, fellow Cafritz young artist Matthew Pearce, blends strength with sensitivity as an equally solid and especially stylish Don José. ![]() With a bit more time (and hopefully some coaching to improve stamina across phrases which, especially during the Habanera, were sometimes clipped by prominent breathing), she has the makings of a superior Carmen. She’s a gutsy, energetic actress and her take on Carmen favors high-spirited immediacy rather than aloof fatedness. Her top-flight voice is distinctive and rangy, the center lithe, silky, and clear, and her chest voice voluptuous and authoritative. Yet Thelwell is one of the singular talents to emerge from it in the past six years. WNO’s Cafritz Young Artist Program, which frequently offers some of its singers a chance to perform leading roles in a performance or two of each of their productions, as was the case on Sunday, is not known for minting stars. Only one, however, is worth your time: Rehanna Thelwell will sing the title role once more, on May 27, and she is, in her role debut, a stupendous Carmen. There are five performances remaining of Washington National Opera’s season-closing production of Carmen.
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