Bizet’s Carmen: new production absolutely dazzling

An opera review by Victor Grynberg

No matter how many times you may have seen this opera before, this brand new production, set in current times by Melbourne Theatre Company’s Artistic Director Anne-Louise Sarks, is unmissable.

150 years after George Bizet wrote Carmen, it’s remarkable how relevant this story remains today.

Last night I witnessed some of the second cast performing, and I can strongly assert that I’ve never heard better singing.

Rihab Chaieb, a Tunisian-born Canadian soprano making her Opera Australia debut, was just perfect as Carmen.

As Don Jose, the soldier who gets into trouble over his desire for affection from Carmen, Korean tenor Young Woo Kim was nothing less than sensational. In a country where top-quality sopranos are much more famous than tenors, it was an extreme pleasure to hear him sing with such a powerful yet sweet voice.

The third lead is the famous bullfighter Escamillo, sung superbly by New Zealander Phillip Rhodes, whose strong acting was just as important.

Whether it was the supporting artists, the terrific OA choir or the dozen kids who did everything perfectly, they were all simply outstanding.

Marg Howell designed the absolutely fabulous and dazzling sets, which clearly were much appreciated by the packed house. The overwhelming applause last night demonstrated the crowd’s appreciation for every single part of this world-class production.

In the expanded music pit, the sound of the world-class Opera Australia Orchestra came through beautifully as they played Bizet’s magnificent score, full of so many incredible melodies. So many just fantastic melodies that famed Jewish lyricist Oscar Hammerstein 11 came up with his version of Carmen and was responsible for the idea of the terrific CARMEN JONES.

First premiered as a musical on Broadway in 1943, and then as an excellent film in 1954, which was directed by another brilliant Jew, Otto Preminger. Many of those Hammerstein lyric songs have become constant successes since then of course. Dat’s Love, Dis Flower, Dere’s a Café on De Corner, Beat Out Dat Rhythm on a Drum and Stan’ Up and Fight among them.

Famously, Bizet, whose career had not been very successful, died at 37, just three months after a very unsuccessful premiere of the opera.

After his untimely death, a revival was staged, and it has remained one of the great hits in opera ever since. Some research indicates that Bizet himself was technically Jewish, with a Jewish grandmother and mother.

Whether for the young or the old, this new production is truly magnificent and is highly recommended.