Hellenic Festival 2007: Bizet , Carmen, Soloists, Greek National Opera Chorus and Orchestra; conductor: Lukas Karytinos,  Herod Atticus Theater,  Athens, 23.6. 2007 (BM)

Denyce Graves as Carmen

Back in the 80’s when Athens was doing time as the “Cultural Capital of Europe”, Greek comedian Harry Klynn recorded a rather cynical sketch about a compatriot who is totally non-plussed when his date inquires whether he will come with her to see “Carmen” at the Herod Atticus theater: “Why have I never heard of her?”, he retorts, “Does she not have a hit of her own?” Even now, in the new millennium, one often gets the impression that we haven’t come a very long way since then, but perhaps the packed ranks of this ancient open-air theater say otherwise.

This time, spending several hours on the stone seats which are doubtless steeped in history, but also notoriously uncomfortable, was certainly worthwhile. Athenians were treated to an inspired production, with the plot plausibly transferred to modern-day Spain, where bull-fighting is still hugely popular. This apt choice was made by director Steven Pimlott, who tragically passed away during the rehearsals and to whom the performance was dedicated. His work was carried forward by Andrew Wickes and Aletta Collins, and the result was an engaging evening, reminiscent of Zefirelli.

With over 270 performers on stage - not including the orchestra, for which a special pit had been created behind the action - the area in front of the proscenium was raised to cover the first few rows of seats. An interesting change, though perhaps not really worth all the effort that went into it, and the cloth floor treated to resemble cement made a great deal of noise when trod upon by so many people. A motorcycle and a flaming car were eye-catching and also went down well with spectators, but fortunately this showy staging did not lack artistic merit.

Denyce Graves was stupendously saucy as the seductive gypsy – a character whom she has said she would love to be like when she grows up. Local mezzo Victoria Maifatova sang the title role in the b-cast; she's a singer deserving of more attention -  for which this occasion provided her with a great deal - and her voice and physique are eminently suited to the part. Her French  is intelligible, I might add, which  was not true of many of her colleagues.

Richard Crawley was a fiercely mournful Don José, his light tenor and elegant phrasing particularly winning in the first duet with Elena Kelesidi’s Micaëla (who was alas not as vivid as usual). Dimitris Tiliakos as Escamillo came across as an out-and-out testosterone time bomb – no harm done, however, since with a booming, agile baritone like his,  he can clearly afford to concentrate on his stage presence. Among the many well-sung supporting roles, Haris Andrianos’ wily Le Dancaïre deserves special mention.

Nikos Vassiliou’s enlightened coaching of GNO’s chorus was audible during the habanera and the orchestra did well from its improvised ditch under Lukas Karytinos, GNO’s former artistic director, who resigned just two seasons ago when the chorus went on strike. Indeed, the sad thing about this Carmen was that it marked the untimely end of Karytinos'  successor’s short and enormously successful spell at the helm of GNO.

Shortly after the last performance, Stefanos Lazaridis was dismissed for undisclosed reasons – spending too much on remarkable, avant-garde productions, including the odd international star and many an outstanding Greek artist, resulting in sold-out shows perhaps?? He has been one of the best things (arguably the only good thing) that has happened to GNO in recent years, and one can only hope that someone with a similar amount of courage - and irreverence for the unwritten rules of the conventional opera establishment in this country - will be chosen to replace him. Needless to say, the chances of that are very slim.

Bettina Mara

Photographs © Stefanos 2007