Review: Carmen
I have seen many productions of Carmen, but this would have to be the most imaginative yet.
John Bell’s reimagining of Carmen — from 1800s Spain to contemporary Cuba — was inspired by the origin of the word “habanera”, a musical style originating in 19th Century Havana.
This allowed Teresa Negroponte to splash out in the costumes, especially of the men’s dress, decking them out in a rainbow of coloured suits. And it allowed choreographer Kelley Abbey the freedom to showcase Cuban rhythms and movements to dazzling effect.
With all the recent publicity given to domestic violence, I couldn’t help but view Carmen in this light, with the heroine murdered brutally by Don Jose, her rejected lover.
Of course, Bizet’s pretty music, perhaps the most continuously melodic of all the romantic operas, does much to diminish the squalor of Carmen’s death, leaving audiences to accept it as her fate — the fate of women who choose independence over conformity.
Carmen’s vitality is captured by French mezzo Clementine Margaine, who rejects the old “hands on hips” routine for a more original heroine.
Set designer Michael Scott-Mitchell’s set for Lillas Pastia’s tavern is a stroke of genius — a mobile food outlet much like the former Harry’s Café de Wheels.
Natalie Aroyan is magnificent as country girl Micaela, while Yonghoon Lee’s mellifluous tenor elicits sympathy for Don Jose.
The supporting cast is uniformly excellent, and the conductor Andrea Molino wrings every bit of emotion from Bizet’s moving score.
This is a production not to be missed. (ID)
Until Aug 12. Sydney Opera House, Bennelong Point, Sydney. $44-344+b.f. Tickets & info: sydneyoperahouse.com
