An Undercast and Faded Production Does Little for Bizet’s Masterpiece.

27/10/2014

 Georges Bizet. Carmen: Welsh National Opera on Tour / James Southall (conductor), Venue Cymru (North Wales Theatre), Llandudno. 22.10.2014. (RJF)

Sung and Spoken in French with English and Welsh titles.

 

Cast:
Carmen, Alessandra Volpe.
Don Jose, Peter Wedd.
Micaela, Jessica Muirhead.
Escamillo, Kostas Smoriginas.
Morales, Alastair Moore.
Zuniga, Aidan Smith.
Frasquita, Samantha Hay.
Mercedes, Emma Carrington.
Le Dancaire, Michael Clifton-Thompson.
Remendado, Huw Llywelyn.
Lillas Pastia, Howard Kirk.
 

Production:
Original Directors, Patrice Caurier, Moshe Leiser.
Revival Director, Caroline Chaney.
Set Designer, Christian Fenouillat.
Costume Designer, Agostino Cavalca.
Lighting Designer, Christophe Forey.

 

Bizet died at the early age of thirty-six, shortly after the premiere of Carmen at the s’ Opera Comique Theatre in Paris where the work was coolly received, the audience finding the story of the eponymous role somewhat immoral. That Puritanism, considering the goings on in Paris society during the recently demised Second Empire, smells of hypocriticism. The Opera Comique presented works with spoken dialogue and it was in this form the opera was premiered. Whilst in recent years many productions, including the present one, have gone back to this original form, the international success and popularity of Carmen dates from its 1875 Vienna production and involves the sung recitatives that the composer’s friend, Ernest Guiraud, added after the Bizet’s untimely death. Welsh National Opera present their Carmen with the spoken dialogue as Bizet envisaged it and as it was performed at the Opera Comique.

I first saw this production in its first year, 1997, and subsequently in the 2010 season at Llandudno. It was the first production I had seen by Patrice Courier and Moshe Leiser. Compared with many other productions I have seen since by the pair which are often garish with excess colour, this is quite the opposite with the only break from the overall drabness being the Act Four costumes and bowls of oranges! The painted school chairs within a shoebox of large drab painted vertical flats in Act One, with no sign of a cigarette factory, give little indication of Spain or Seville. It gets no better as the opera proceeds with Lillas Pastia’s tavern particularly dark. The drama of Act Four was lost in the manner of its presentation, forward of a semi-lowered drop. No drop of blood was sighted after Carmen’s stabbing, perhaps saving on laundry bills; a full house on the first of two consecutive nights deserved better.

In the two previous performances of this production I have seen, at least the singing of the leading principals mitigated my disappointments. In 1997 it was Sarah Fulgoni, whose career I had followed as a student, who carried the day. In 2010 it was Patricia Bardon a well sung and acted Carmen matched by Gwyn Hughes Jones’ virile Don Josè with further vocal pluses to be found with Sarah-Jane Davies’s Micaëlla and David Soar’s stylish Escamilio. We were not in such luck with Alessandra Volpe’s rather sexless Carmen, lacking the necessary sexual vivacity and voluptuousness in her movement and dance. Her singing had plenty of richness of tone, but the registers were not well knit together, her act one solos passing with only polite applause. As her lover, Don José, Peter Wedd’s lyric toned tenor was distinctly strained at times, with his clarity of diction making his poor French enunciation obvious. To compensate, quality of singing, and good acting was evidenced by both Jessica Muirhead as Micaëlla and Kostas Smoriginas as Escamillo. Frasquita and Mercédès were well portrayed by Samantha Hay and Emma Carrington whilst there seemed to be more shouting than singing from the smugglers.

In the pit James Southall set a fast pace in the overture and never let the drama drag whilst drawing brisk idiomatic tempi from his orchestra. The chorus were a little undernourished when split into two troops in Act One, but came more into their normal vibrant selves as the act progressed.

I do not know if Scottish Opera have any continuing interest in this production that they once shared, but with Opera North never likely to reprise their roundly condemned, even infamous, production with its Dog Handler Escamillo and yelping Mounties, it is time for WNO to bury this drab production too. Yes, it attracts audiences, but a Company which can also fill Venue Cymru for two rare Rossini operas can do better for one of the top ten in the operatic popularity lexicon.

Robert J Farr.

Print Friendly

Comments

Leave a Reply

Recent Reviews

Facebook-button-1

Season Previews

__________________________________
  • NEW! Opera and More in Buenos Aires in 2018 __________________________________
  • NEW! Gloucester Choral Society’s Hubert Parry’s Centenary Celebrations in May 2018 __________________________________
  • NEW! Ex Cathedra at St John’s Smith Square’s 2017 Christmas Festival __________________________________
  • NEW! Spend a Penny for Grange Park Opera’s Lavatorium Rotundum __________________________________
  • NEW! Bampton Classical Opera in 2018 __________________________________
  • NEW! The 2018 Lucerne Summer Festival __________________________________
  • NEW! World Premiere of The Nutcracker and I, by Alexandra Dariescu in December at Milton Court __________________________________
  • NEW! Leeds Lieder’s Forthcoming Schubert Song Series in Leeds and Sheffield __________________________________
  • UPDATED! English National Ballet’s 2017 – 2018 Season __________________________________
  • NEW! Contemporary Music from Manchester’s Psappha in 2017-18 __________________________________
  • NEW! I Musicanti’s ‘Alexandra and the Russians’ at St Johns Smith Square, 2017-18 __________________________________
  • NEW! Anna Netrebko and Yusif Eyvazov’s Return to London in May 2018 __________________________________
  • NEW! St John’s Smith Square announces its 2017/18 Season __________________________________
  • NEW! The Pierre Boulez Saal’s 2017/18 Season in Berlin __________________________________
  • UPDATED! The Glyndebourne Opera Cup and Glyndebourne in 2018 __________________________________
  • NEW! The City of Birmingham Symphony Orchestra’s 2017/18 Season __________________________________
  • UPDATED! English National Opera’s 2017/18 Season __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! Dénes Várjon Talks to Sebastian Smallshaw About Budapest’s Kamara.hu __________________________________
  • R.I.P. IN MEMORIAM – DMITRI HVOROSTOVSKY (1962-2017) __________________________________
  • NEW! Ann Murray’s Masterclass at the V&A Part of Opera: Passion, Power and Politics __________________________________
  • NEW! Carly Paoli is ‘Singing My Dreams’ at the Cadogan Hall in February 2018 __________________________________
  • NEW! A Composer Speaks Up for the Environment: An Interview with Margaret Brouwer __________________________________
  • NEW! Twelve Years of Celebrating Malcolm Arnold in Northampton __________________________________
  • NEW! What is the Critic’s Job? A Review of A. O. Scott’s Recent Book __________________________________
  • NEW! English Music Festival in Yorkshire Lifts the Lid Off an English Treasury __________________________________
  • NEW! A FULLY STAGED PILGRIM’S PROGRESS IN ORLEANS, MA __________________________________
  • NEW! JIŘÍ BĔLOHLÁVEK (1946-2017) AND THE CZECH CONDUCTING LEGACY __________________________________
  • NEW! JUSTIN DOYLE DISCUSSES MONTEVERDI WITH MARK BERRY __________________________________
  • NEW! Katie Lowe Wins the 2017 Elizabeth Connell Prize __________________________________
  • NEW! ITINÉRAIRE BAROQUE 2017: TON KOOPMAN TALKS TO COLIN CLARKE __________________________________
  • NEW! The Royal Opera House in Mumbai is Restored to its Former Glory __________________________________
  • Archives by Week

    Archives by Month

    Search S&H