Written by French composer Bizet and first performed in 1875, and an adaptation of Prosper Merimee’s novella Carmen, which was judged by French society to be utterly improper. This may explain why the opera was initially delayed because of fears that the themes of betrayal and murder may offend. The opera received negative press, Bizet was accused of plagiarism by Gounod whose music had a great influence on Bizet, and died aged 36, believing that his opera was a failure. Bizet was described as a child prodigy, admired by Liszt and even though Bizet himself felt that he had written something special, he did not live to see its success.
In Ellen Kent’s and Opera International’s adaptation with the Ukrainian National Municipal Opera, the opening Act I reveals a set designed to be the backdrop for the dramatic nature of the bullfighting toreadors, whilst multi-tasking as the town square, the inn and mountainside village. There is more than a nod towards classicism in its design with an influence of the mythical in its marblesque statues.
The storyline tells of a passionate gypsy woman Carmen, who tells of her restless spirit, who will not be tied down by a man. Act 1 begins with Carmen and her fellow cigarette workers leaving the factory and are awaited by the local young men. The ladies reciprocate with flirtatious dancing, accompanied by the sensuous ‘Habanera’ lead by Carmen (mezzo soprano, Irina Sproglis). The fiery nature of Carmen leads her into a fight with another woman, and she is arrested. A corporal in the army and her guard Don Jose (tenor, Sorin Lupu), is seduced into releasing Carmen and they become lovers. Once again, Carmen becomes restless and tires of Don Jose and sets her sights on Escamillo a toreador (baritone, Racovita Petru). Carmen has begun a relationship with Escamillo and has come to watch the bullfight, and after following Carmen, in a fit of jealousy, Don Jose kills her.
In this production, the dramatic nature of the opera begins well with the passionate attentions from the young suitors and the alluring nature of the dancing and music set the scene for this most dramatic of operas. I did feel that this energy was not consistent throughout the opera and the march of the toreadors was underplayed.
Act 2 began with colourful costumes, a rousing chorus and of course, the ‘march of the toreadors’, which is surely one of the most memorable arias and was orchestrated superbly.
Of note is Micaela’s aria in Act 3, she searched for Don Jose, only to find him at the gypsy camp. This act shows the difference in temperament between Carmen who is passionate but lacks compassion, and who in this scene has been reading the tarot cards, where her death is predicted. The gentle Micaela (Soprano, Elena Dee) has been sent by Don Jose’s mother to bring him home as she is dying, and the delightful aria ‘Je dis que rien m’epouvente’ is a highlight of this production, beautifully performed by Elena Dee.
Carmen remains one of the most popular operas for a reason, it has a dramatic storyline even by today’s standards, but it is the music of Bizet that leaves you humming the music as you leave the theatre, and all the way home.
To book tickets for the tour of Ellen Kent’s Carmen, Tosca and Madama Butterfly go to https://www.ellenkent.com/book-tickets/
Reviewer: Caroline Worswick
Reviewed: 8th April 2022
North West End UK Rating: ★★★★