Fourth revival of Calixto Bieito’s Carmen at the ENO lacks passion and has had its day

United Kingdom Bizet, Carmen: Soloists, Children’s Chorus, Chorus (chorus director: Matthew Quinn) and Orchestra of English National Opera / Clelia Cafiero (conductor). London Coliseum, 8.10.2025. (JR)

My colleague Mark Berry saw and reviewed the third, in his view disappointing, revival of Calixto Bieito’s production of Carmen (review here) for English National Opera which was only 2½ years ago; Berry wondered whether the production might have had its day.  It is a modern(ish) and athletic production of a very popular work so no doubt the cash-strapped ENO will keep bringing it back to fill the coffers. There is hardly a set, so no great storage space to worry about between revivals; the stage is often bare, most notably (and sadly) in the final denouement of the opera. I missed all the previous revivals (I was living abroad) so came to the production afresh.

This being a Bieito production, there is much emphasis on and depiction of the sexual shenanigans between the characters, but not violently portrayed, so there is nothing unsavoury. There is much thrusting, a lot of testosterone obvious in the male soldiers, a lot of banging, screaming and rushing about, but no real passion; Carmen can be a beautiful, seductive opera but not in this over-produced production. There is also little Spanish about the set, apart from the Spanish flag, the word ‘Telefono’ on the telephone box and a huge Osborne bull which crashes noisily and spectacularly in the third act (but why?). If you are a fan of vintage cars, the parade of six old Mercedes automobiles, with Spanish numberplates, is a joy to behold.

The two protagonists, Carmen and Don José, found it hard to look as though they were in love – in Act III when Don José asks Carmen whether she loves him, she retorts with a simple ‘No’ – the audience just giggled. Another problem is the clumsy English translation from the French. The French language makes much of the text seductive, the English is perfunctory. In the faster sections, such as the trio with Carmen and her two gypsy female friends, the text gets in the way of the notes.

As for the voices, it was a mixed bag. Niamh O’Sullivan has lovely low notes in her creamy mezzo-soprano register, less attractive as she goes up into soprano; she did not in my view inhabit the part. Her Irish accent was strong; her pronunciation of the word ‘love’ was odd. John Findon has a very strong voice, was occasionally just shouty, and the top notes (in head voice) had no ring: it was volume rather than beauty.

I was mightily impressed, however, by Ava Dodd, whose soprano has real sparkle, with the occasional shrill note at the top: she certainly inhabited the part of Micaëla, a real tear-jerker. Cory McGee was a competent Don Escamillo, he was often under the note, however the glory were his low notes.

Freddie Tong returned from previous revivals as Zuniga: the role suits him well and his virile bass is impressive. Harriet Eyley and Siận Griffiths were excellent in their supporting roles as Frasquita and Mercédès. None of the male supporting roles shone particularly, but neither did they do any harm.

Costumes were extremely colourful and the best part of the show. The chorus were on excellent form, especially the men. The children, from Marlborough Primary School, were first-rate, both acting and singing, always eye-catching.

The ENO Orchestra in the pit fared well. In charge was Clelia Cafiero who hit the overture with venom and alacrity but after that it rather descended into routine. Occasionally the orchestra and singers were out of kilter but that should be remedied in later performances.

John Rhodes

Featured Image: Calixto Bieito’s Carmen © Ellie Kurttz

Production:
Director – Calixto Bieito
Revival director – Jamie Manton
Set designs – Alfons Flores
Costumes – Mercé Paloma
Lighting designer – Bruno Poet
Revival Lighting designer – Marc Rosette
Intimacy and Fight director – Haruka Kuroda

Cast:
Carmen – Niamh O’Sullivan
Don José – John Findon
Micaëla – Ava Dodd
Escamillo – Cory McGee
Zuniga – Freddie Tong
Moralès – Jolyon Loy
Frasquita – Harriet Eyley
Mercédès – Siận Griffiths
Dancaïro – Patrick Alexander Keefe
Remendado – Osian Wyn Bowen
Lilas Pastia – Dean Street
Manuelita – Yolanda de Linares
Mercédès daughter – Livia Ciriaci