Carmen is a smart combination of exotism, passion, sensuality and violence that, being a great failure on its première in 1875, after Bizet’s death became one of the most popular operas in the repertoire, with some of the most beloved melodies in classical music.
The opera is particularly dear to the public in Salerno, as Teatro Verdi has staged it three time in the last ten years. This year’s production is to be appreciated for many reasons, starting from the direction. In times of Regietheater, that is the modern directors’ practice to change the original historical context of an opera, Jean-Daniel Laval has diligently staged it as it was conceived, not trying to add any political point or modern parallels which are remote from the author’s intentions. Accordingly, the uniforms of early 19th century soldiers were uniforms of early 19th century soldiers, Spanish smugglers were dressed as we imagine a Spanish smuggler of that time was dressed (and gypsies, ditto).
The public could enjoy a Carmen as it was intended by Bizet, no more, no less, arranged in a traditional setting and with all the piece’s typical, reassuring features: a turbulent love story in an exotic setting, famed tunes (at times coarse and audience-pandering, in my opinion) and a sensual, untameable main character who immediately captures the public's attention.
In the title role Anna Caterina Antonacci created a Carmen quite believable in her bewitching charm. The Italian mezzo certainly has an expressive voice and fit to the part, her tone having the needed darkish quality, and she also possessed the agility to sing and act the Séguedille. Nonetheless, her interpretation did not possess enough seductive physicality. The Habanera, for instance, was given with a firm, secure tone, but without the passionate sultriness one expects. She gave her best in the moment of the dreadful premonition during the “card trio” with Mercédès and Frasquita, and in the finale, when she challenges Don José consciously pushing her way into tragedy.
The vocal star of the night was Alida Berti as Micaëla. The soprano was amazingly empathetic in a role which is not dramatically complex. Berti’s voice has the beautiful timbre of an authentic lyric soprano. As soft as she is the middle notes, in the high notes her delivery was always measured and her gentle vibrato did not affect the purity of the vocal line. Her aria in Act III was moving and she completely filled the empty set with her presence, delivering an ardent prayer that earned her the loudest applaud of the evening.