As warhorses go, operas don’t come much better than Carmen. This new production from State Opera of South Australia boasts an excellent cast in a well judged dramatic performance, with a more than serviceable set and appropriate costumes. With respect to both, SOSA’s artistic director and conductor for this performance, Dane Lam, proudly highlighted in his on stage pre-performance introduction that they were all recycled, which happily was not particularly evident. The work was performed in the original French including the dialogue (with English surtitles), and all credit to the cast for their clear diction. Some trimming of the score was evident, for instance there was no children’s chorus.
Laura Hansford set her production in Seville “during the exact era Bizet originally intended” – quite a novel idea these days – “but through contemporary eyes”. The set comprises tall building façades initially flanking the square, in the corner of which a tree displays a mass of pink blossom, handily placed to provide a flower for Carmen to bestow. The same buildings also become the ramparts of Seville, while the tree remains throughout. For the bullfight scene, a set of bleachers materialises, first facing outwards, then turned around so the final confrontation takes place behind it. The soloists and chorus are all believably and colourfully deployed throughout.
While these days it is not uncommon for directors to put a feminist spin on Carmen – which isn’t hard, really – Hansford has some unusual small touches in that respect. On the one hand, the casual misogyny of the men is demonstrated by Morales attempting to strangle a woman in the opening scene, and later, prior to the women taking their seats for the bullfight, they are critically inspected by their male partners. On the other hand, female solidarity is represented not only by the affection between Carmen, Frasquita and Mércèdes, but when Micaëla turns up in the smugglers’ camp and is told to leave, rather than either glaring at or ignoring her, Carmen acts protectively towards her. In the final scene (spoiler alert), the dying Carmen laughs at Don José, thus illustrating Margaret Attwood’s famous precept.
Lam conducted the Adelaide Symphony Orchestra at a cracking pace in the prelude and kept the momentum flowing thereafter, while allowing the quieter moments, such as the entr’actes, to be savoured. The State Opera Chorus was its usual reliable vocal self, and conveyed a sense of varied individuality throughout.
It’s good to see Australian companies relying more and more on home grown talent, even if it seems to help if they have had overseas experience, and this production is no exception. Charlotte Kelso is billed as a soprano, but her dark timbre certainly suits the role of Carmen and she shone in the role. Singing with power and accuracy, she also convinced as an independent woman devoted to freedom, but not an uncaring one. Her Habanera was suitably seductive, as was her Chanson bohème, moving from restraint to full blooded passion.
Don José was performed by Australian-Austrian Gerard Schneider, whose full-bodied tenor is yet capable of subtle inflections and tender lyricism as in “La fleur que tu m'avais jetée”, and his portrayal indicated the ultimate uncertainty of a man willingly led astray. Samuel Dale Johnson was a suitably dashing Escamillo, his Toredor Song confidently projected. Local soprano Desiree Frahn was an outstanding Micaëla, singing with rich creamy tone and far from the more usual shrinking violet. Her duet with Don José “Parle-moi de ma mère” was well balanced and touching.
The remaining roles were all well served. Cathy-Di Zhang (Frasquita) and Fiona McArdle (Mércèdes) sang well and managed to differentiate their roles. Baritone Nicholas Lester was a nasty Moralès but a more engaging Dancaire, well paired with tenor John Longmuir’s Remendado. Their quintet with Carmen, Frasquita and Mércèdes was a highlight. Andrew Williams was a stiff-necked but decent Zuniga, resonantly sung.
