Love her or hate her, but don't try to keep her: Georges Bizet's heroine thrives on freedom. Carmen's intoxicating gypsy spirit pervades Madison Opera's excellent production of the same name, set to play Overture Hall again on Sunday.

Based on recent offerings from Madison Opera, one expects that the leading vocalists will be terrific, the orchestra lush and polished, the production values of a high level. These have all become standard.

What sets "Carmen" apart is everything else.

Candace Evans' integrated direction energizes a tragedy that's so familiar it's almost cozy. The plot is a classic: Free-spirited Carmen seduces and discards a hotheaded soldier, Don José, with rather negative consequences.

What Evans creates on the Overture stage is a full Sevillian scene, populated by scampering children, bored soldiers and factory workers. It's not so much a "real" place in the sense of actual Spain, but it feels true to the story, an engrossing world in which Carmen is the center.

Katharine Goeldner is a grounded, intelligent Carmen, a mature woman who knows what she's doing and what she wants. Goeldner's honeyed mezzo tone is silken and strong. She taunts the soldiers with a fast-paced "Habanera" and explodes in controlled rage in "Je vais danser en votre honneur," when her lover dares to try to leave.

Luckily for Goeldner (and for us), the two male leads match her in intensity and skill. Tenor Adam Diegel's Don José cultivates a tough-guy persona, then melts hearts all over the theater with his gorgeous "Le fleur que tu m'avais jetee" ("The flower that you threw me"). Diegel's voice is bright and expressive, his Don José at once threatening and attractive.

As the swaggering Escamillo, Hyung Yun struts around the stage, sparring with Don José like he's fighting a bull. He rips through "Votre toast, je peux vous le rendre" (better known as the toreador song) with aplomb and confidence, showcasing a powerful baritone instrument.

Elizabeth Caballero's Micaela makes a sweet first impression on "Ma mère, je la vois," a lovely nostalgic duet with Don José. But she shines brightest on her prayerful third act aria, "Je dis que rien ne m'épouvante" ("I say that nothing scares me"), with a fast vibrato and a warm tone.

The performances from supporting characters are especially fine, notably Amy Mahoney and Jamie Van Eyck as sassy smugglers Frasquita and Mercédès, and Ryan Thorn as the funny head bandit, El Dancaïre. Their agile second-act quintet, "Nous avons en tête une affaire" ("We're planning a job"), is as delightful to watch as to hear.

Though passionate, the "Carmen" libretto by Henri Meilhac and Ludovic Halévy can feel trite at times. The contrast between the girls bubbling with joy over the tarot cards and Carmen's proclamation of "always death!" feels about as subtle as a hammer. But Evans has a gift for bringing out the quirkiness in her cast, making such melodrama stand out as unusual.

In fact, much credit for the success of all three hours of Madison Opera's "Carmen" goes to Evans. She skillfully inserts Tania Tandias' swiveling flamenco dancing for color, moves the chorus on and off stage swiftly and gives the French dialogue a natural cadence.

Maestro John DeMain anchors "Carmen" from the orchestra pit, taking lively tempi that complement the vocalists. The entr'acte music is charming, notably a delicate flute solo entering Act III.

For Madison Opera, the production is a resounding success.

Together, the music, story and talented cast of "Carmen" combine to create a world that, when it ends, we're not yet ready to leave.

IF YOU GO

What: Madison Opera presents "Carmen" by Georges Bizet

Where: Overture Hall, 201 State St.

When: 2:30 p.m. Sunday

Info: madisonopera.org

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