Bizet a prolific composer for the stage is best remembered today
for his opera Carmen his crowning glory. According
to the Berliner Philharmoniker website Carmen has become
the most performed opera in the world today. Consequently any
new recording causes a great deal of interest especially with
such a starry cast. Jonas Kaufmann and Magdalena Kožená are
two of the most sought after singers on the world stage today.
The question is, will this performance from these renowned artistes
live up to the elevated expectations?
Before these live concert performances the last time that Carmen
was presented in the Berlin Philharmonie was in 1985: Karajan
conducted the Berliner Philharmoniker and Agnes Baltsa was Carmen
and José Carreras, Don José. I have seen a video clip of the
present performance on the BPO website and the soloists were
seated behind the orchestra in front of the Chor der Deutschen
Staatsoper Berlin. They wore normal evening dress not costumes
from the opera as the performers of John Adams’ Nixon In
China were wearing for the concert performance I saw at
the Philharmonie just over a week ago. The Kinderchor der Deutschen
Staatsoper Berlin was located at the right of the stage. Earlier
in the month Rattle and his orchestra had taken Carmen
to the 2012 Salzburg Easter Festival for director Aletta Collins’
staged version with the same cast of soloists using the Wiener
Staatsopernchor. It must be said that the Rattle/Collins Salzburg
production had a mixed critical reception.
Premièred at the Opéra-Comique, Paris in 1875 it is difficult
to believe today that the overt sensuality of the plot and characterisation
of Carmen shocked the early audiences who were clearly
unaccustomed to realism in their operas. The libretto was written
by Henri Meilhac and Ludovic Halévy, based on a novella Carmen
by Prosper Mérimée. Designated an opéra comique the
opera’s lascivious scenario and tragic conclusion seemed incongruous
with the genre. Set in the searing heat of Seville, Spain during
the early-nineteenth century this tale of love and passion,
jealousy, betrayal and violence resulting in murder transferred
splendidly to the Philharmonie in the bustling modern metropolis
that is today’s Berlin. Starting as he meant to go on Rattle
takes the Prelude at a very brisk pace. The music just
fizzes along conjuring up a broad palette of Latin colours with
plenty of dramatic impetus. I loved the playing of the Entr’actes
with some simply stunning woodwind playing.
In the title role of Carmen, Magdalena Kožená with her dyed
vivid red/auburn hair was mightily impressive portraying the
wild and fiery, man-eating Gypsy temptress from the cigarette
factory. Her smoky-toned mezzo confidently surmounted the challenges
of this demanding part. It was a delight to hear this Brno-born
singer develop the free-spirited and sultry siren in such a
compelling way. The mezzo’s ability to control her long lines
is specially striking. In the famous act 1 Habanera
(L'amour est un oiseau) where the cigarette
factory workers gather together for their break Kožená sings
alluringly of the uncontrollable nature of love, conveying an
atmospheric beauty. The act 3 card scene includes Carmen’s moving
soliloquy En vain pour éviter which is given a performance
with real emotional impact.
Jonas Kaufmann puts his heart and soul into the role of the
deserting Dragoon Corporal who dotes on his mother. It’s engaging
done with appealing tone and the ability to hold a note remarkably
well. One feels for the pitiful Corporal who allowed Carmen
to mock his affection for her only to discard him for Escamillo.
The act 2 aria La fleur que tu m'avais jetée
(The flower song) was marvellously moving and made the hairs
stand up on the back of the neck. The moving act 4 duet C'est
toi! C'est moi when José pleads in vein with Carmen
for her to come back to him is communicated by Kaufmann and
Kožená with genuine dramatic tension. On this sort of form Kaufmann
is the finest and most versatile tenor currently appearing in
world opera. Simply breathtaking was the final act when the
desperate José, at his wit’s end and delirious with emotion,
fatally stabs Carmen.
With a character directly opposite to that of Carmen, Genia
Kühmeier plays, with absolute assurance, Micaëla the strait-laced,
rather sorry and uninteresting village maiden. In her act I
aria Parle-moi de ma mère! Micaëla brings a letter
to José from his mother, suggesting they should be married.
The Salzburg-born soprano displays bright appealing tone and
enviable diction revealing just the right degree of vulnerability.
From act 3 when Micaëla attempts to recapture the affections
of José from Carmen with her romance Je dis que rien ne
m'épouvante Kühmeier exhibits a peachy voice that
projects powerfully, ensuring a thrilling feel to the top of
her sweep. Baritone Kostas Smoriginas is formidably cast as
Escamillo giving a compelling portrayal of the arrogantly flamboyant
and celebrated toreador. A real highlight was Escamillo’s
rousing act II aria Votre toast, je peux vous le
rendre the famous Toreador Song. It is sung so
assuredly by the Lithuanian baritone that one can really imagine
the red-blooded, heroic and swaggering Escamillo.
In the supporting roles Christian van Horn as the Dragoon Captain
Zuniga displays a rich deep bass-baritone and Moralès the Dragoon
Officer, played by bass-baritone Andrè Schuen is highly expressive,
singing with strength and passion. It would be remiss of me
not to mention the singing from the Chor der Staatsoper Unter
den Linden which was as excellent as I expected from this experienced
group. In act I the Chorus of Urchins sung by the Kinderchor
der Staatsoper Unter den Linden could hardly be bettered such
was their bright and enthusiastic tone.
This sturdy EMI Classics double set contains a detailed essay
and synopsis of the opera. In addition there are some fine images
from the production at the 2012 Salzburg Easter Festival. Sadly
I have to report that no libretto or biographies is provided.
To obtain those one has to visit: www.simonrattle.com/carmen
However, as part of a really tiresome process the page requires
personal information to “unlock bonus content” and
when I tried it the website declined to show the webpage.
In answer to the question that I posed at the start of this
review. Yes, my expectations were certainly met by this highly
desirable Carmen.
Michael Cookson
see also reviews by
Simon Thompson and Robert Farr August
RECORDING OF THE MONTH
Berlin Philharmonic Orchestra/Sir Simon Rattle