In 2005, Bocelli recorded the opera Carmen. Myung-whun Chung conducted the Orchestre Philharmonique de Radio France and the Chœur de Radio France for the recording. Welsh bass-baritone Bryn Terfel, mezzo-soprano Marina Domashenko, and soprano Eva Mei, were also part of the Ensemble.[3]
In 2008, Bocelli played the role of Don José on stage, opposite Hungarian mezzo-soprano Ildikó Komlósi, as Carmen, at the Teatro dell'Opera di Roma, in Rome, for four nights, from June 17 to June 28.[4][5][6] Bocelli released the complete opera recording of Carmen, in Italy, in the same year.
In March 2010, the recording was released Internationally.[7]Carmen: Duets & Arias contains highlights of arias and duets of that recording.
Andy Gill from the British newspaper, The Independent, gave the complete opera recording a 4 out of 5 stars rating, writing that, "the world's most popular tenor, in the world's most popular opera? Do you suppose this will sell? Decca aren't taking any chances anyway, making it available as a complete CD set with full libretto, and as a single-disc collection of Duets & Arias. The peculiar tragic nobility of Bocelli's voice is perfectly suited to the role of Don José, but the clinching elements are the supporting performances, particularly Marina Domashenko in the title role, whose plummily graceful tones bring just the right note of quixotic disdain to the part; and Bryn Terfel, who delivers the "Toreador's Song" with a swashbuckling gusto."[8]
Stephen Eddins from AllMusic also gave the complete opera recording a 4 out of 5 stars rating, writing that, "Bocelli is most successful in the music that allows him to sing sweetly, such as his Act I interactions with Micaëla, but his Don José is always believably human; he, more fully than Domashenko, embodies his character's development, particularly his growing desperation. His lack of vocal consistency is problematic, but at his best here, the fullness his tone, and the discipline of his phrasing might well surprise his critics."[2]
On the other hand, Joe Banno of The Washington Post gave an unfavorable review of the recording, mentioning the oft-noted failings in Bocelli's vocal resources on full display in this performance: "Bocelli, to be fair, possesses an essentially lovely tenor and knows his stuff when it comes to selling a pop ballad. And Decca's close miking of his puny voice inflates his sound to near-Franco Corelli-like dimensions. But his short-breathed, clumsily phrased, interpretively blank and often pinched and strained singing makes his Don Jose a tough listen."[10]
[8]
