Carmen can justifiably lay claim to be the world’s
most popular opera. As director David McVicar points out in one of the
revealing documentary extras on this excellent BBC release, it ‘is probably
the first musical, with hit tune after hit tune’. He’s right, but as
his own thought-provoking production makes amply clear, it is so much
more than that, having deep psychological layers that he teases out
very effectively. He has (rightly in my opinion) opted for a colourful,
naturalistic production, with costumes and sets all conveying the correct
period and general feel; no stylised or ‘concept’ nonsense to distract
the viewer. This leaves him clear to get the cast to really act and
get under the skin of the complex characters that inhabit the work.
This makes for a riveting dramatic experience, with the many famous
melodies and set pieces all in proper context. There is an erotic charge
running through many of the exchanges of the principals, and McVicar
sees sexual frustration as the key to many of these characters’ problems.
This may have led to raised eyebrows at Glyndebourne, but it does make
a lot of sense, given the ultimate events of the tragedy. He also opts
to include the original spoken dialogue rather than the spurious recitatives,
another aspect that works remarkably well. It fleshes the story out
properly instead of holding up the action until the next big tune, as
one might suspect it would.
So full marks for not messing with Bizet’s general
instructions too much. Praise must also be heaped on the London Philharmonic,
who respond magnificently to the flamboyant young maestro, Philippe
Jordan (any relation to Armin, I wonder?). His energy and physical intensity,
which is visibly there for all to see in the hectic, brilliant prelude
(where he resembles Escamillo!), communicates through to the orchestra
at every turn, and Bizet’s wonderful scoring is heard in all its glory.
One could cite numerous examples, but hear particularly the characterful
wind solos of the Act 2 Entr’acte, or the beautifully weighted brass
chords that punctuate the famous ‘Toreador Song’, helping one to appreciate
the harmony afresh. It really is a superb aural-only experience, the
Gallic lightness making one understand why Richard Strauss once advised
young composers learning orchestration to study Bizet’s scores, not
So the reported controversy surrounding this production
appears to be wholly related to the central casting. Here we have one
of the world’s finest mezzos seemingly cast against type. Anne Sofie
von Otter herself admits that she may not be everyone’s idea of the
ideal Carmen – "too tall, Nordic and cool", as she puts it,
and remembering great Carmens of the past (Berganza, de los Angeles,
Price, Migenes etc.) she does have a point. All I can say is that she
seemed to me wholly convincing, sporting a blazing auburn wig to help
with the gypsy look (plus Sue Blane’s magnificent costumes) and acting
and singing with such conviction that criticism was all but silenced.
McVicar and von Otter have obviously worked on other aspects of the
character, and rather than the smouldering wildcat, we get a more mature
portrayal of a woman who can, as the director has it "eat men whole
– and laugh while she’s doing it". She is a woman desperately seeking
love, a free spirit that simply needs the right partner. This really
does make the final tragedy all the more poignant, because we really
believe that she has at last found the right person in Escamillo, but,
as the cards tell her, fate has something else in store for her. The
famous routines are all superbly choreographed, and she raises a laugh
from the audience as she manages the second verse of her ‘Seguidilla’
while lighting a cigar, quite a feat!
Her Don José, American tenor Marcus Haddock,
also gives a multi-layered portrayal, and his character probably develops
more than any other. He constantly reminds us that this is a man hiding
many demons, not least the fact that he killed a man in a duel, so we
begin to realise early on what he is capable of. There is also the shadow
of his mother, who we learn wanted him to become a priest (all this
is in the invaluable spoken dialogue), so he is an unstable individual.
His beautifully sung ‘Flower Song’ is not just a showstopper, but tinged
with all the psychological baggage of a haunted man. The final confrontation
with Carmen is riveting, with the fatal stabbing ghastly but not in
the least melodramatic. This is believable verismo.
As Escamillo, Laurent Naouri is also encouraged to
act with some subtlety, to enjoy his big moments but give us some character
insight. Thus his oft-heard ‘Toreador Song’ is punctuated by glances
towards Carmen, who responds with knowing eye contact (obviously the
camera close-up helps here), and an immediate chemistry is established.
His is less a testosterone-fuelled macho man than a virile counterpart
to Carmen herself; one can actually believe they would have made a satisfied
The Micaëlla, Lisa Milne, is a touch matronly
for me, but I suppose we have to believe in her as the saintly sister
figure, and while I miss some of the fragility of others in this part,
she sings beautifully and makes a good contrast to Carmen. All the smaller
parts are taken with real relish, and I particularly liked Jonathan
Best’s Zuniga. Costumes, as mentioned, are stunning, with the stage
for the final act dominated by black and a symbolic blood red. The dancing
is a delight, sexy and energetic, and stage designs (by Michael Vale)
atmospheric yet practical.
The extras on the double DVD set are worth having.
There are revealing interviews with director and principals, as well
as substantial individual features on music, costume, choreography and
stage fighting. There is an illustrated synopsis, cast gallery and a
ten-minute feature on the famous Glyndebourne garden. Having loaded
the discs with the extras, the booklet is devoted to a specially commissioned
reworking of the Carmen libretto by Jeanette Winterson, entitled ‘The
World Beyond’, a moving and worthwhile updating of the basic story.
Whether you want to fork out for two full price discs
may depend totally on your idea of the casting of the eponymous heroine.
When this was broadcast last year, some of my colleagues thought von
Otter so wrong they couldn’t watch it through to the end. While I accept
she may not be what is expected visually, I think it is short-sighted
to not see the whole package. Carmen does dominate, but there is an
awful lot going on around her, and David McVicar has managed quite the
most intelligent, believable opera production I’ve seen for some time.
This is ensemble directing at its best. With von Otter (and everyone
else, for that matter) in absolutely superb voice, accompanied by gloriously
inspired orchestral playing, this is a musical and visual feast. Sue
Judd’s subtle camera work helps the television experience. The BBC packaging
is first rate, making an altogether outstanding record of a thrilling