OPERA AUSTRALIA PRESENTS ‘CARMEN’ @ JOAN SUTHERLAND THEATRE

On Saturday 11th January 2020 Opera Australia launched their new season of CARMEN one of the best known operas in the western world.  Bizet’s CARMEN was adapted from a book of the same name written 30 years before by French dramatist Prosper Mérimée. 

Merimee had adapted a story told to him by a Countess friend and based the book around Don José who is different from the opera in that he has already committed multiple murders. Not an innocent by any means but a short tempered and violent man. Carmen in the book is also far more loose offering sexual favours to get herself and her friends out of all sorts of trouble and marrying Don José after he kills her husband.

Obviously, in opera these ideas were not going to draw a lot of sympathy from the crowd when she dies so Bizet had to tone down both characters and simplify the story to convince the big theatre l’Opéra Comique in Paris to stage the première.

The conservative opera producers were clashing with Bizet during the writing. Bizet was keen to do something completely real and new which made them rather nervous. Bizet wanted Carmen to include an openly lusty, freedom loving, powerful mezzo who defies convention as the heroine. A tenor who is a violent criminal, women smoking on stage, not one duet between the main characters, a love gone sour through just moving on to someone else rather than some sort of tragedy beyond their control … these features were all a little hard for the theatre company to swallow but, in the end, Carmen was premiered in March 1875, a trail blazing event.

In keeping with the format required by the Theatre, there was spoken text between the songs which was later adapted to recitative. The current production retains a little of this including the description of Micaela which is easier to change text from being a blonde with braided hair to being simply one with a braid. No point making her blonde as one to stand out in amongst a Spanish cast of brunettes. In this production all manner of hair colour can be seen in bright, cheerful costumes and wigs. The styling seems closest to 1950’s though the choreography is modern including acrobatic flips and baby freezes from the all-male street kids. It makes for a festive panorama which fits well into the street scenes though it has a sort of cartoon feel, similar to the Warren Beatty “Dick Tracy” movie where, in the smuggler scene, we find it hard to imagine anyone will actually be in danger.

Armenian-American Conductor Christan Badea launched into the opera as such a fast pace we began to wonder if it was necessary to complete early to prevent paying overtime to the artists. Particularly the overture and Entr’acte before Act Four were almost chipmunk speed. The Australian Opera Orchestra and Artists are a superb ensemble but the speed meant there were times when the parts threatened to separate, outpacing each other and much of the most beautiful phrases were simply lost within an instant. There are also ample places within this opera where a slower pace would normally add power and strength but were skimmed over in this version. Only in the last act did the tempo start to relax down to a more musical pace.

It’s a long season with principal cast members swapping part way through. For the first stint up till 22 February as Carmen is Italian born, Decca recording artist Veronica Simeoni making her debut with the company. Offering an interesting version of the character who is seemingly matter of fact. Perhaps more a coquette than seductress, Simeoni touches her heart when the line up of men offer her flowers as if to say “For me? How sweet.” It’s a curious perspective and doesn’t quite mesh with the story line of a lusty smuggler who every man wants to jump.  A strong singer, she received great applause and appreciation from the audience.

Another Italian artist, Roberto Aronica took the lead tenor role of Don José. This role has the most character development in this story starting out as an honest, gullible soldier gradually declining in morals and ethics. Aronica played this beautifully with a powerful voice that will knock your socks off. The opening act was not completely convincing as to why he would suddenly fall for Carmen but all fell into place by the second half as he relaxed into the role and trusted his acting abilities to escalate the character’s demise. Aronica received a standing ovation for his great work.

Another Italian making her debut with the company was soprano Claudia Pavone in the role of Micaëla. A fantastic voice with excellent acting skills, it seems odd to place such a magnificent talent into a smaller role but perhaps might be used as a trial run for larger roles in the future. She certainly proved herself well, showing great understanding of the character with the added dimension of development where many others have not bothered in the past. Beginning as a small innocent country girl bullied by the soldiers she grows to a strong woman determined, albeit failing in the end, to draw Don José away from the criminal life. This may have been the expert influence of Director John Bell or her own interpretation. Either way the audience loved her.

Not to be outdone, Polish bass-baritone Lukasz Golinski filled the role of Escamillo with a rich toned voice. Again, I would say here that the role is one which really shines when a large dose of sex appeal is added. This would improve the performance and make sense of all the women falling over themselves for his attention.

So, no Australians in the major roles but featured in the ranks of the minor roles, all in excellent voice. Anthony Mackey (Zuniga), Sharon Zhai (Frasquita), Alexander Hargreaves (Dancairo), Virgilio Marino (Remendado) and Sitveni Talei (Moralès). Particularly lovely acting skills were found in Joan Carden award winning mezzo Agnes Sarkis (Mercédes) adding comedy and drama to support the other performers and adding extra depth to the story line. There feels like great chemistry between herself and the other three smuggler friends of Carmen. One to watch out for.

Summing up, the revival of this production is very welcome. The music is loved, the singing sensational from soloists to chorus. Simple sets keep the attention on the music and the action so the audience can allow themselves to be carried away in the story. Highly recommended viewing.

Opera Australia’s production of Bizet’s CARMEN , directed by John Bell, is playing the Joan Sutherland Theatre until Thursday 26th March, 2020.

Conductor – Christan Badea

Director – John Bell

Designer sets – Michael Scott – Mitchell

Designer costumes – Teresa Negroponte

Designer lighting – Trent Suidgeest

Choreography – Kelly Abbey

Carmen – Veronica Simeoni

Don José – Roberto Aronica

Micaëla – Claudia Pavone

Escamillo – Lukasz Golinski

Zuniga – Anthony Mackey

Frasquita – Sharon Zhai

Mercédes – Agnes Sarkis

Dancairo – Alexander Hargreaves

Remendado – Virgilio Marino 

Moralès – Sitveni Talei

Artist/Show website: https://opera.org.au 

Featured image- Roberto Aronica as Don Jose and Claudia Pavone as Micaela in Opera Australia’s production of ‘Carmen’ at the Sydney Opera House. Pic Keith Saunders.