Georges Bizet - Carmen
Gran Teatre del Liceu, Barcelona 2010
Marc Piollet, Calixto Bieito, Béatrice Uria-Monzon, Roberto Alagna, Marina Poplavskaya, Erwin Schrott, Eliana Bayón, Itxaro Mentxaka, Marc Canturro, Francisco Vas
Unitel Classica - C-Major
As one of the most popular operas in the repertory, and one where opera houses are reluctant to stray too far from the stock traditional performance, Bizet’s Carmen is all too often just being trotted out without a great deal of thought put into it, and there’s consequently a danger of the opera fan becoming somewhat jaded about yet another production. Carmen is Carmen, as far as I’m concerned, and personally, I wouldn’t go out of my way to see it again. Fantastic opera, brilliantly scored in a way that is full of life and passion, consummately operatic, but done to death, to the extent that it’s almost become a cliché, removed and detached from whatever real human emotions used to underlie it.
Consequently, until the recent Carmen in 3-D production from the Royal Opera House, I hadn’t seen or really listened to the opera in about ten years, and Francesca Zambello’s conventional and unimaginative staging for that production reminded me why. The production itself wasn’t bad, but there was just nothing new in it. It would really take something extraordinary to make me sit up and notice Carmen again, and not only notice it, but actually listen to it again in a new way. Calixto Bieito’s production for the Gran Teatre del Liceu in Barcelona, conducted by Marc Piollet, updating the opera to what looks like the 1970s is not then a staging that will appeal to traditionalists, but, personally, it most certainly is a version to make you sit up and notice just how incredible an opera Carmen can be.
From the standpoint of the casting alone however, there are plenty of good reasons to like this production, which has the right kind of blend that is needed in terms of experience for the two principal roles and up-and-coming young singers for the supporting roles. With Roberto Alagna and mezzo-soprano Béatrice Uria-Monzon, both native French, the roles of Don José and Carmen are not just in reliable hands, but both invest a great deal into the interpretation, singing wonderfully and maintaining a strong presence on the stage. Erwin Schrott is a good Escamillo, again another fine actor willing to push interpretation as well as possessing a fine baritone voice – but this is a minor role for his talent. Marina Poplavskaya finds the right blend of freshness, innocence and purity that the opera needs as Michaëla.
As good as each of the cast are in their own right, the famous arias as good here as any interpretations I’ve heard – Alagna’s ‘La fleur que tu m’avais jetée’ is terrific – they work wonderfully together and it’s the duets and ensembles that make the biggest impression, presenting a refreshing new perspective on the opera. The orchestra and the performance are also superb. It’s everything you expect Carmen to be, but with enough character, verve and energy of its own, and a willingness to explore the dynamic that make this something more vibrant and alive, (the HD sound reproduction on the Blu-ray is also outstanding), the music seeming once again to be organically part of the drama rather than illustrating a bunch of clichéd routines. It’s a long time since I’ve heard this particular opera sounding so fresh.
How much of this is down to the stage production is debatable. Other than modernising the period setting however, the essence of the drama isn’t touched or played around with, the emphasis shifted slightly perhaps to emphasise the masculine aspect of the opera and the culture of machismo (although a full-frontal naked bullfighter might be too much for the more sensitive traditionalist). Even if it were just for the fact of stripping away all those old routines and hackneyed gypsy imagery, Calixto Bieito’s production, often minimal, the stage permanently giving the impression of a bullring, at least forces the viewer to focus once again on the characters and how they express themselves through Bizet’s score and the libretto by Henri Meilhac and Ludovic Halévy, and that alone is a bit of a revelation. Yes, everyone knows that Carmen is all about jealousy, lust and Latin passions, but removing the set-pieces goes some way towards restoring the balance of the other more noble aspects the theme of love beyond all reason (“Love is a gypsy child who knows nothing of the law”) in the unconditional familial love on the part of Don José’s mother and also in the purity of Michaëla’s love for him. Whether it’s obvious or not (and all the better if it’s not), I’d say that the production and direction is certainly instrumental in achieving this.