Georges BIZET (1838-1875)
Carmen
Christine Rice (Carmen)
Bryan Hymel (Don José)
Aris Argiris (Escamillo)
Maija Kovalevska (Micaëla)
Royal Opera Chorus & Orchestra of the Royal Opera House
Constantinos Carydis (conductor)
Francesca Zambello (stage director)
Extra features: Carmen the opera and a Cast Gallery
Subtitles: EN/DE/FR/JAP/KO
Sound format: 2.0LPCM + 5.1(5.0) DTS
rec. live, Royal Opera House, London, June 2011
OPUS ARTE ROYAL OPERA HOUSE COLLECTION OA1197D DVD [155:00]
This, Julian Napier’s cinematic film (originally shot
in 3D), captures The Royal Opera’s 2011 production of Bizet’s
Carmen. On the standard DVD copy that I am reviewing, the picture
is mastered in 2D.
Even though this is billed as a cinematic film, all the actions take place
on stage at The Royal Opera, Covent Garden. Francesca Zambello’s production
is quite traditional, with ranks of soldiers, crowds of peasants, gypsies
and bullfighters – as well as a horse, a donkey and even some chickens.
The filming is somewhat closer than that of an average live opera production.
The sets are somewhat dark but conventional. In the first act, two female
characters are seen bathing with their backs facing the audience, and the
cigarette factory girls show a fair bit of cleavage as well as with legs wide-spread,
but otherwise there is no frontal nudity in this film.
American tenor Bryan Hymel as Don Jose has a good physique and good looks,
and acts passionately, but his voice is not beautiful and sounds rather congested.
Christine Rice is a seductive Carmen, sings and acts well. Aris Argiris as
Escamillo and Maija Kovalevska as Micaëla are also more than decent. However,
the recorded balance does not favour the lead singers, and I have trouble
hearing them over the ensemble. The spoken dialogues are almost inaudible,
while at the same time the chorus is balanced very forward. I wonder why,
if the gunshots and sound of fist fights can be so audible, why the lead singer’s
volume couldn’t be turned up as well.
The four acts are given without a break, and the entr’acte to Acts 2,
3 and 4 are all cut from this production. It is regrettable that the director
Francesca Zambello could not include them in her conception of the production,
because these constitute some of the best music in the opera. Portions of
the Act 3 and 4 entr’acte’s are used as background music to the
end credit.
The booklet is in English, French and German. The essay titled “Why
Carmen has all the best tunes” by Richard Langham Smith gives
valuable insights into the provenance of the various tunes from the opera.
A synopsis rather than a full text is given. The bonus features are short
and do not really provide much value.
Given the immense popularity of Carmen, it is no surprise that there
have been many filmed versions of the opera. At or near the top of the list
are Francesco Rosi’s film with Julia Migenes and Placido Domingo, shot
entirely on location in Andalusia Spain; James Levine with Agnes Baltsa and
Jose Carreras at the Met; Herbert von Karajan’s version with Grace Bumbry
and Jon Vickers from the 60’s; and a rather recent Met production with
Yannick Nézet-Séguin, Elīna Garanča and Roberto Alagna. All of these
sets feature a better-sung Don Jose. Coupled with the problems with cuts and
with recorded balance, I cannot recommend this new release over the top choices
currently in the catalogue.
Wai Kit Leung
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