Irina Mishura was the rich-voiced, vivid Carmen, captivating while singing, not so much while dancing or wielding the castanets. Mark Baker was the Jose, Jeffrey Wells the Escamillo, both a point or two above adequate. Robin Follman‘s shrill, vibrato-ridden Micaela merely reminded me once again that this is opera’s most expendable role. The village scenes in the first and fourth act were full of life and color, and the kiddie chorus actually had interesting biz now and then. Again -- as in the Handel, as in almost everything these days -- the updating gremlins were at work; sets and costumes by Riccardo Hernandez and Constance Hoffman dragged the look of things into something vaguely 1940-ish. Mostly, however, it worked.