Raleigh-- Robert Weiss’ ambitious plan to make Carolina Ballet top rank continues at a relentless pace. Ten major productions in two seasons have included Weiss' stunning new choreographing of the Prokofiev “Romeo and Juliet,” his daunting two-year project setting all of Handel's “Messiah” to dance and his haunting one-act story ballet, “The Kreutzer Sonata.”

As if that were not enough to prove his and the company's stature, Weiss has now gone after the biggest plum of all: a new full-length story ballet. Since there are little more than a half-dozen of these in the active repertory, a new, viable production would be a welcome addition. “Carmen,” Weiss' entry into that sweepstakes, is definitely a contender. It has many of the right ingredients: strong story line, vivid characters, multiple sets and numerous costumes. In addition, there is familiar music by Bizet and choreography geared for all the company's dancers to shine.

The highlights of Weiss' work, as we have come to expect, are his breathtaking pas de deux. The several for the gypsy Carmen and her lover Don Jose ranged from the sensuous sexuality of the third-act opening in a camp tent to the tempestuous passion of their fatal encounter outside the bullring in the final scene. These included many striking lifts and slides, as well as effective use of floor positions, all danced with intensity and abandon by the two leads. The three pas de deux for Don Jose and his village sweetheart Micaela were heartfelt and lyrical, perfectly matching the corresponding characters' music from the opera.

A few elements need rethinking. The beginning of the first act and the last scene are too low-key for the bustle they require. The ends of most scenes and acts need more of a musical punch. Some attempts at humor (toy soldier troops and Keystone Kops guards) are unnecessary and inappropriate.

But overall, Weiss has proved that he and the company are in the game for the long run, with “Carmen” being one more checkmark on the list of successes.

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