Carmen – Bizet – English National Opera
Calixto Bieito, the Director of this production, first seen in 2012, brings his own personal interpretation of an unyielding Carmen in the midst of early 1970’s Franco-type testosterone-filled masculinity. No quarter is given. The male soldiers are at the same time playful boys and violent nasty male caricatures. The misogynistic treatment of women stands out in this stripped back production, but the gratuitous violence that simmers throughout the evening is at times unedifying and disturbing.
The Set Designer Alfons Flores in reality doesn’t have much to do as the set is effectively a bare stage with props – a telephone booth, a flagpole and various cars etc – that adorn the stage. The lighting by Bruno Poet is at times extraordinary and there are moments of pure genius during the production that will stand in the memory, namely a naked male Spanish dancer, six or seven old cars, an iconic sunbather, a huge full stage bull sign and wonderful crowd scenes, particularly with the kids in the final Act.
The Lithuanian mezzo soprano Justina Gringyte sings a sultry but deeply committed Carmen, producing a voice of electric intensity. She was matched - and more - by her Jose, the American operatic tenor from a Sri Lankan family, Sean Panikkar. This 38 year old has boyish charm and his smooth dramatically clear voice stood out throughout the evening. However, there was a feeling that some of the chemistry and intensity required in the stage interpretation in the final Act of Carmen’s death scene was lacking between the singers. More please as this run continues.
There was a grand cast of five ENO Harewood artists, who all sang excellently during the evening, including the Micaela of Nardus Williams, the Morales of Alex Otterburn, the Mercedes of the mezzo soprano Samantha Price, the Dancairo of the outstanding baritone, Matthew Durkan and the Remendado of John Findon. Keel Watson was a larger than life character as lieutenant Zuniga and the soprano Ellie Laugharne was an effervescent Frasquita. Ashley Riches sang the difficult role of Escamillio the bullfighter reasonably, but dressed in suit and tie didn’t really look the part!
The chorus were outstanding all evening, as was the English National Opera under the baton of the Italian Conductor and Mackerras ENO Fellow, Valentina Peleggi. She gave a rip-roaring account of the score.
A really interesting interpretation of Carmen on the back of some really good singing.
