Georges BIZET (1838-1875)
Carmen - opera in 4 acts (1875) [146:53]
Libretto written by Henri Meilhac and Ludovic Halévy
Carmen: Christine Rice (mezzo-soprano)
Don José: Bryan Hymel (tenor)
Escamillo: Aris Argiris (baritone)
Micaëla: Maija Kovaļevska (soprano)
Frasquita: Elena Xanthoudakis (soprano)
Mercédès: Paula Murrihy (mezzo-soprano)
Children of the Trinity Boys' Choir, Tiffin Girls' Choir
Choir masters David Swinson, Simon Ferris
Royal Opera House Chorus
Chorus direction: Renato Balsadonna
Orchestra of the Royal Opera House/Constantinos Carydis
Director: Francesca Zambello
Picture Format: 1080p - 1 x BD50 - Filmed in High Definition
Sound Formats:
a) LPCM Stereo 2.0ch, 48kHz/16bit
b) DTS-HD Master Audio 5.1ch, 48kHz
Sung in French with on screen subtitles available in English, French, German,
Japanese, Korean
OPUS ARTE OABD7188D Blu-Ray [149:45]
Opus Arte has released a performance of Bizet’s Carmen
from 2010 at the Royal Opera House (ROH) a revival of the much admired period
staging from Francesca Zambello and her collaborator stage designer Tanya
McCallin. Here we have Julian Napier’s cinematic film of the revival
of Carmen originally shot in 3D over two sessions and now remastered
in high definition 2D on Blu-ray and DVD. Being a cinematic film clearly the
shots of the production are of an improved quality but Napier and producer
Phil Streather ensure that it’s not overproduced without any outside
filming. It has all the feel of a typical live opera performance and I can’t
fault the results at all.
With an excellent libretto and containing music where one smash hit tune follows
another, Carmen has an enduring popularity. It has been performed
by ROH alone over 500 times. It’s hard to believe today that at its
1875 première at the Opéra-Comique, Paris the four act opera, given with spoken
dialogue, was actually a failure. Poignantly Bizet died three months later
without any conception that Carmen would achieve worldwide fame.
No opening of Carmen I have seen has been able match the Lina Wertmüller
production at the Bayerischen Staatsoper that I attended in 2014. Immediately
the curtain opened the National Theatre, Munich audience was transported back
to
19th century Séville. Dominating the scene were the mighty iron gates of the
distant cigarette factory at daybreak with a gradually brightening pale orange
sky.
At this ROH production revival director Duncan MacFarland manages a satisfyingly
brisk moving scenario compelling for the eye as well as the ear without ever
a suggestion or a whiff of tedium. After the overture curtain up is different
to the traditional opening as we see alone on stage the handcuffed Don José
convicted of murdering Carmen kneeling in his prison cell as the hangman in
black leather hood arrives for him. After this prelude we see the now well
established period set of Séville, with walls the colour of sun-burnt red
clay, centering on a square complete with long water trough and orange tree.
Locals with children are milling about mingling with women workers from the
cigarette factory and a few soldiers too. There is even a donkey being led
across the stage; a presence which seems compulsory these days.
Probably the finest soprano I have seen in the role of Carmen was Anna Caterina
Antonacci in Francesca Zambello’s 2007 ROH production. A fireball of
gypsy passion Antonacci knocks the socks off other competitors and seems to
own the stage. Certainly my first choice Carmen, Zambello’s
production with Anna Caterina Antonacci and Jonas Kaufmann as Don José is
available on Decca Blu-ray. Here Manchester born Christine Rice can’t
draw on any Latin sensibilities like Antonacci yet does make a suitably flirtatious
Carmen, a free spirited, beautiful yet dangerous siren. Looking very much
the gypsy temptress in her act 1 Habanera, Rice is assured and vocally
focused displaying excellent projection with an attractive tone. Suitably
seductive in the Seguidilla: Près des ramparts de Séville
also from act 1 Rice in sultry mood performs so well.
From Act II the famous ‘Flower Song’ La fleur que tu m’avais
jetée must be a tenor’s dream and with red flower (a very small
one actually) in hand American tenor Hymel as the dragoon corporal doesn’t
disappoint. Although the scene involves a near dizzying amount of perambulation
between the pair, what sticks in the consciousness is the degree of sexual
tension when Don José kneels and holds Carmen tightly. Impressive is how Hymel’s
voice increases in weight to splendid effect, however, I have a grumble concerning
the tenor’s diction that requires closer attention.
Latvian soprano Maija Kovaļevska makes a delightful if naive Micaëla
decked out like a country girl with pigtails wearing a plain, long grey-blue
dress. Hymel as the corporal is kitted out in blue uniform with yellow stripes
on the trousers. Their act I duet Parle-moi de ma mère! is tenderly
sung and Kovaļevska, sounding anything but Spanish, displays a firm striking
tone that projects well through the house. Gratifyingly Hymel’s agreeable
voice also carries well, holding up satisfactorily under pressure.
It is a rousing moment when the handsome bullfighter Escamillo, played by
baritone Aris Argiris dressed in a black and red trimmed toreador’s
outfit, makes his grandiose entrance on a black horse. Escamillo’s famous
Toreador Song, Votre toast je peux vous le rendre is rendered slightly
disappointingly by Argiris. Nevertheless he radiates the necessary confidence
that captures the essence of the famous toreador. Argiris’ smouldering
sex appeal has the señoritas frantically fanning themselves to cool their
ardour.
Affecting is the tragic final scene which is compellingly acted out. Whilst
Escamillo is in the bullring entertaining his adoring supporters spurned Don
José madly stabs Carmen fatally to the sound of the crowd’s Toreador
Song. Realising what he has done Don José holds the lifeless Carmen on the
floor.
Set and costumes, which seem virtually the same as Tanya McCallin’s
work on Zambello’s original 2007 production, are impressive on the eye.
There are relatively few dragoon soldiers and they wear rather drab looking
uniforms which in reality serve to contrast starkly with the ravishingly bright
colours of the dresses of the señoritas, the flamenco dancers and picadors.
Like many contemporary productions the trend seems to be to pack the stage
with children for the chorus of urchins and this is no exception. The lighting
by Paule Constable works to perfection and together with the scenery and costumes
serves to create a simple yet effective set smouldering with warm colour.
Act 3, set in the smugglers’ camp on the mountainside is remarkably
effective – so much so that the temperature seems to drop a few degrees.
Seen mainly at Lillas Pastia’s Inn, the Spanish dancing, so often a
let-down, is top drawer owing to the small troupe of professional dancers.
The four or five minutes of ‘extra features’ containing a cast
list and some back-stage footage doesn’t amount to much and I have come
to expect much more background information and interviews. In the accompanying
booklet there is both a helpful essay ‘Why Carmen has all the best
tunes’ by Richard Langham Smith and a synopsis. The stereo and
surround audio options sound striking on my HD television.
Excellent work from the well prepared chorus together with well paced, stirring
playing from Orchestra of the Royal Opera House under the responsive control
of conductor Constantinos Carydis.
Michael Cookson
Other contributors
Zuniga: Nicolas Courjal (bass)
Moralès: Dawid Kimberg (baritone)
Le Dancaire: Adrian Clarke (baritone)
Le Remendado: Harry Nichol (tenor) Lillas Pastia: Caroline Lena Olsson
Guide: Anthony De Baeck
Revival director: Duncan MacFarland
Set and Costumes: Tanya McCallin
Lighting: Paule Constable
Choreography: Arthur Pita
Fight direction: Mike Loades
Revival fight director: Natalie Dakin
Film direction: Julian Napier
Film producer: Phil Streather
Music producer: David Groves
Bonus content:
Cast Gallery [2:34]
Carmen the opera [1:21]
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