BIZET’S Carmen is considered one of the most accessible operas, making it perfect for people like me who are still new to this. Having “worked” at a couple before this, I was delighted to have this one click, with little to no effort. I was thoroughly invested in the story, and allowed myself to be carried by all those glorious voices in its telling.
Of course the voices are glorious; these artistes are members of Cape Town Opera for a reason. Altogether, with costumes, sets, tight staging, the orchestra, dancing, and finessed directing, this is not just a production, it is a spectacle. I am fascinated that I recognise quite a bit of the music. How even did that happen? It all adds to the enjoyment, “from the seductive Habanera to the swaggering Toreador Song, in a score that has captivated listeners for more than a century, brought vividly to life by the Cape Town Philharmonic Orchestra (CPO) conducted by Maestro Tim Murray.”
Choreographed by Naoline Quinzin and the inclusion of dancers from Figure of 8 and Jazzart, to the tavern scene which opens Act II, adds a vibrant extra layer to the richness of this tapestry. The cheeky children who cheerfully thumb their noses at authority figures bring a joyfulness to the crowd scenes.
Carmen (CTO House Soloist Nonhlanhla Yende) is the feisty, fickle centrepiece, afraid of nothing, not even love, which eventually leads to her bloody fate. Fall for her at your peril, and hers. Shame, this is what happens to poor Don José (Lukhanyo Moyake) who has a terrible time of it from the moment he meets Carmen right until the final curtain. Everything just keeps going wrong for him, including the transfer of Carmen’s love to the handsome and charismatic bullfighter Escamillo (Conroy Scott), although to be honest, I can see this. By the time the final act rolled around though, my sympathies for him had evaporated. Man just can’t respect a boundary, and the “if I can’t have you, no one can” violence is disturbingly relevant.
Reading director Steven Stead’s notes in the programme, he himself says: “What is particularly disturbing to me, and to a modern audience is the violence inflicted by men on the women of this story. It starts right at the beginning of the opera with the soldiers’ casual but threatening toying with Micaëla, and tracks through to Carmen’s brutal death.”
This is why women choose the bear.
Micaëla is sung by guest artist Vuvu Mpofu, whose Act III turn is an angelic highlight. It is her eventual duty to inform José his mother is dying, another unfortunate incident to plague him.
It’s been a short but successful run for Carmen. There are still some ticket available for tomorrow, Friday 29 May via Webtickets. This year, Cape Town Opera’s adapted Access Performances are open to all ages. Accompanied by piano, this shortened production offers audiences a rare opportunity to experience the power of Bizet’s music in 75 minutes. Curated for learners yet suitable for opera lovers of any age, this all-access version includes the same breath-taking staging and costumes as the full version. Tickets are R80 via Webtickets, and the final performance is on Saturday, 30 May at 2pm.
“Since its premiere in 1875, Carmen has remained one of the most frequently performed operas in the world, admired for its vivid characters, irresistible melodies and unflinching portrayal of human desire. Cape Town Opera’s new staging embraces the opera’s emotional intensity while offering a fresh theatrical vision that resonates with contemporary audiences.”
PHOTO CREDIT: Oscar O’ Ryan
