United Kingdom Bizet, La tragédie de Carmen (after Carmen by Bizet and Mérimée. Reimagined by Peter Brook utilizing libretto by Jean-Claude Carrière and music rating by Marius Fixed): Soloists, Northern Chamber Orchestra / Iwan Davies (conductor). Buxton Worldwide Pageant, Derbyshire, 9.7.2024. (MC)
Bizet’s a lot beloved French opera the enduring Carmen in 4 acts was first carried out by the Opéra-Comique, Paris in 1875. The libretto to Bizet’s Carmen was written by Henri Meilhac and Ludovic Halévy, primarily based on the novella of the identical title by Prosper Mérimée. Over a century later in 1981 La tragédie de Carmen was first staged on the Théâtre des Bouffes du Nord, Paris a reimagining by theatre director Peter Brook of Bizet’s opera Carmen.
Controversy met the premiere of Brook’s adaptation which isn’t shocking given the recognition of Carmen with audiences; it’s usually one of many prime three operas by way of most carried out. Having seen the opera Carmen grow to be more and more inflated in measurement, nearly like Hollywood musicals, Brook had seen the necessity for his La tragédie de Carmen to be more true to the unique novella titled Carmen (1845) by French author Prosper Mérimée on which it was primarily based. Along with his adaptation La tragédie de Carmen Brook shortens and slims each facet down, it goes to the guts of the rating concentrating extra on the grittier and darker facets of Mérimée’s novella highlighting the heartbreak, jealousy, obsession and homicide. Now solely 4 characters have singing roles the brave Carmen, Don José, Escamillo and Micaëla. Of the audio system Lillas Pastia turns into a chatterbox, there’s a fleeting look by navy officer Zuniga and Carmen’s husband Garcia is a brand new character launched. The orchestra has been lowered right here to fifteen gamers, there isn’t any want for a choir because the choruses have been lower and comedic options have been deleted.
Stage director Katharina Kastening was in her component with La tragédie de Carmen producing a fast-moving, intimately scaled model of music theatre. Bettina John, set and costume designer, dominated the stage with a big half-pyramid formed picket building constructed out of steps. Within the method of a 3D puzzle the construction itself was in moveable elements that may very well be dismantled to type smaller constructions comparable to a serving flap to Lillas Pastia’s bar and a small jail cell. John’s costumes had been of a recent design with Carmen having a garments rail of a number of clothes with types starting from the temptress to the plain. The motif ‘Femme Fatale’ was usually seen on an oblong picket poster board, each on the ground and elevated and typically saved out of sight behind the highest of the stage. Curiously the characters not performing had been sat contained in the stage on the sides and staring forward.
Most viewers eyes had been fastened onto Niamh O’Sullivan, the Irish mezzo-soprano within the title position. No stranger to Bizet’s Carmen, O’Sullivan has clearly tailored rapidly to Peter Brook’s model. I noticed O’Sullivan’s Carmen as a complicated character who flirts with hazard each emotionally and bodily, her flirtatiousness is a significant vulnerability that ends in the rejected Don José strangling her. Absolutely, we are going to all have our personal takes on Carmen’s character. It was Micaëla who supplied the most effective description of Carmen, singing ‘She is each harmful and exquisite’. O’Sullivan demonstrated her voice was as much as the duty particularly Carmen’s arias ‘Seguidilla di Carmen’ and her provocative ‘Habanera’ all successfully finished and sung with convincing ardour.
Tenor Elgan Llŷr Thomas stood out for his performing as soldier Don José who regarded informal in denims and leather-based jacket but was a troubled soul. José’s love for Carmen was there for all to see, but he discovered it obscure her wiles. The Welsh tenor’s rendition of the lyrical ‘Flower Music’ conveyed a delightful diploma of tenderness as he sang of his love for Carmen.
Clearly having fun with her position Erin Rossington was a convincing Micaëla, the naive village woman in love with Don José. Wearing a vivid purple gown the Welsh soprano made a terrific job of Micaëla’s transferring early duet with Don José, projecting her voice strongly and with pleasing readability.
Steffan Lloyd Owen had the position of Escamillo, not the biggest position however an necessary one. Racked with self-doubt and nervousness Escamillo was not the flamboyant showman he pretended to be in his career as a Toreador. At all times an viewers favorite the Welsh baritone gave a rousing rendition of Escamillo’s ‘Toreador’s Music’. My solely reservation was the shortage of a standard outfit for Escamillo befitting a toreador. The purple sash he wore for the bullfight simply didn’t do it for me.
A flexible actor Cameron Cook dinner was the narrator and performed the elements of Zuniga, Lillas Pastia and Garcia. Clearly a talented quick-change artist Cook dinner was able to altering character swiftly. Below conductor Iwan Davies the members of the Northern Chamber Orchestra performed properly, and any early intonation points had been quickly ironed out.
Bizet’s Carmen is an opera I’ve seen many occasions, and this was my first La tragédie de Carmen and I beloved it as did my associates and several other different viewers members I spoke to. It doesn’t substitute Carmen however it’s sturdy sufficient to face alongside it. At Buxton Opera Home Katharina Kasten’s La tragédie de Carmen was a fascinating night of entertaining music theatre.
Michael Cookson
Creatives:
Stage director – Katharina Kastening
Set and Costume designer – Bettina John
Lighting designer – D. M. Wooden
Solid:
Niamh O’Sullivan – Carmen
Elgan Llŷr Thomas – Don José
Steffan Lloyd Owen – Escamillo
Erin Rossington – Micaëla
Cameron Cook dinner – Lively Narrator / Zuniga / Lillas Pastia / Garcia
