Of Carmen performances this is perhaps the most
talked about and the most respected.
Zeffirelli first made a name for himself when directing Romeo
and Juliet and later with such productions as Tosca,
Norma and Turandot, in which he was always sensitive
to detail in staging.
Carmen was Bizet’s last work and was completed
in 1875. Bizet had difficulties with theatre managers due to
its risqué content. In rehearsal both orchestra and chorus said
there were places where the music was impossible to either play
or sing. Bizet’s sudden death came during the première run and
so was deprived of knowing how successful his last opera would
become. For him to have seen Zeffirelli’s spectacle would have
truly amazed him.
Apart from its authentic Spanish settings and star performances
this production owes much to the exacting standards set by Carlos
Kleiber. He rarely worked in the opera house because of critical
self-assessment and frustration in getting his interpretations
correctly represented. His Dresden recording of Der Freischütz
(1973) is legendary and conductors since have had difficulty
in matching Kleiber’s musical expertise. He shunned theatre
directors and refused to let televised recordings of rare performances
be released on video. We are told in Gottfried Kraus’s interesting
notes accompanying the disc that when a Wiener Staatsoper live
video series was planned, the request was granted. Kleiber died,
however, before this 2004 release was issued.
The focus in the opera is firmly on the principals, Carmen,
Don Jose and the Toreador and the interaction between them.
Amongst them, Domingo is the only Mediterranean who can give
the necessary emotional fire that an audience looks for. His
sincerity in the role and in acting is admirable throughout.
Both Carmen and Escamillo are Russian and despite truly glorious
singing they are emotionally cold, and in want of sensitivity
in their acting, particularly Yuri Mazurok: rarely is there
eye contact between Carmen and her lover. In her dancing, a
few steps and twirls, Carmen lacks the energy and commitment
it deserves. Fortunately this short-coming is masked by the
excellent stage business and activity provided elsewhere by
a very industrious chorus.
Zeffirelli’s staging is complex and a joy to behold: horses,
a donkey, flirting señoritas, market vendors, a pastor and his
tutelage, children mimics of an army all engage the mind and
the eye. His groupings complemented the well-filled authentic
sets. The television production team had one chance to get it
right since the first night was televised for live transmission.
They achieve remarkable results giving much variety especially
in close-ups. The orchestra is well recorded but theatre limitations
mean that the principals are not ideally balanced when singing
up-stage. Fortunately this does not affect the clarity of the
choral singing.
A well written booklet about the staging of this production
with synopsis and critique by Andrew Greene of former recordings
of this opera are provided in English, French and German - with
colour photographs. Surprisingly no background to Bizet is provided.
Subtitles are available in English/French/German/Spanish/Italian/Chinese.
Raymond J Walker
see also review by Robert Farr
Carmen – Elena Obraztsova
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