This was a wonderfully imaginative production - a re-creation almost - designed for these times. It was proof again that we are getting some superbly imaginative and creative operatic responses to the crisis.
The work was re-orchestrated for a distanced orchestra but there were very contemporary instruments in it and some fascinating moments of late 20th C harmony which gave a super edge to some scenes - not least as they were so unexpected. (masked) and attractive dancers were an important element and were able to give the impression very effectively of crowds - not east in the final act. There was an audience there - obviously a sparse and distanced one as we could tell from the applause at the end but it was good to have some applause.
then story was, apparently, told in flashback by Jose, presumably after his release from prison from killing Carmen, but this was only done and made clear spasmodically. It was at its most effective when we heard his thoughts over the audio at key moments, particularly at the opening with a very vivid evocation of a swelteringly hot Spanish summer, and at the climactic final act. I think this would have bene more effective if it had been clearer and more consistently done - it was not always clear why we saw the ‘now’ Jose at certain moments.
the sparse set was essentially a metallic arena with a slight rake to it and there were two large screens on which images and bits of films were projected at times. Again, we occasionally saw the video camera operators but the reasoning why and when we saw them, and exactly what was the part that they played was, again ,not consistently made. Around the edges of the stage were large ,metallic towers with spotlights at the top and these really came into their own in the final scene where they brought a chilling cold light to the scene with pools of darkness on the stage.
The Carmen was interesting. as a performer she was not as gripping/charismatic/vocally superb as many and yet…and yet she completely dominated. I am still not quite sure how - whether it was the combination of herself and the director but it was very fine indeed. She was very sexual (and effectively so)and while her voice was (relatively) small and light, it did a superb job. I do not mean to damn with faint praise as it was a charismatically effective performance - but I am not exactly sure HOW and WHY it was that. She was boht playful and nihilistic.
The bullring connection was not overemphasized - one two occasions Carmen had a vivid black and white spotted outfit with a red lining and a bulls head headdress but at the end her black and white costume was reflected in a similar one to Escamillo.
Details and moments of the production that I particularly liked were: The screens being very effectively used in La fleur… where we had the contrast of the bored Carmen on stage ignoring Jose who was singing to the seductive and flirty image of her being projected on the screen - very good move. And, talking of the re-orchestration, in the Act 2/3 interlude, the harmonic sounds became much modern and discordant as the drama got darker. I liked that. The Jose/Escamillo fight was well staged - just enough bullfighting references to be effective without becoming cheesy.
Michaela was another character who came across very powerfully. Too often she can be a mere sentimental drip (hello some Puccini heroines!) and one can quite understand why Jose would choose Carmen above her but here, while she was, necessarily very good and pure, there was a strength to her as well that we do not often see. And for me she became more genuinely sympathetic rather than her being, as she often is, one whom we feel manipulated into feeling sympathy for. But is always difficult to well depict a very good and pure character dramatically - as it is a boring one.
The opening of the final act was uproariously raucous with the dancers really coming into their own.
So a marvellous performance/adaptation that really made it come alive.
Carmen Evgenia Asanova
Don José Rodrigo Porras Garulo
Micaëla Barno Ismatullaeva
Escamillo Germán Olvera
Frasquita Mercedes Arcuri
Mercédès Nina van Essen
Zuniga Yannick Spanier
Dancers Eleanor Freeman, Alice Gaspari, Chiara Viscido, Tommaso Bucciero, Patrick Michael Doe, Dominic McAinsh
ConductorStephan Zilias