A fully-staged opera straight from Paris’s Opéra Comique, Andreas Homoki’s rendition of Carmen transports the audience into a world of love, lust and betrayal, bringing a taste of Paris to its UK production premiere in Edinburgh.
We begin with a book on an empty stage and a man in modern clothing who, confused, picks up the book. The characters begin to appear in the shadows and the story starts to come to life around him. He becomes absorbed into the plot, becoming the soldier Don José, Carmen’s dutiful yet spineless lover. As the story unfolds we observe Don José’s downfall without much sympathy, as he becomes blinded by jealous rage following Carmen’s desire for the handsome and cocky Toreador Escamillo.
Whilst this transfer of Don José from a modern-day observer to a character embedded in the 19th century setting is original, it does add an element of complexity that is hard to follow initially. It requires a suspension of disbelief which, once achieved, allows the audience to roll with the storyline. Parallel to this blending of timelines, as the performance continues, the costumes of the ensemble also progress through time. In the final scene where we see the performance of the famous ‘Les Toréadors’, the crowd are watching on a pub TV in what seems to be a 21st-century setting. This time-travel through the eras adds an element of dynamism to the performance and subverts the norms of the traditional opera, but the initial leap seems arbitrary.
Any doubts are put to rest by Gaëlle Arquez’s performance as the titular Carmen. Arquez puts on an electrifying display, exercising complete command over the stage, perfectly embodying the seductress trope. Her spellbinding vocals leave you unable to take your eyes off her. Blended with the tenor of Saimir Pirgu’s Don José, they create a rich and enthralling display. Of course, while the vocals are the standout of any opera, the exquisite work of the Scottish Chamber Orchestra is what gives the performance the space to excel.
In a way typical to films of the big screen, the Ensemble opens the performance by breaking the fourth wall. Bemused as to the audience’s presence they point and giggle amongst themselves. Later on, the curtain drops and we see the stage crew observing the party for the bullfight. In an endearing way this adds to the comedic and playful nature of this opera, often prompting great laughter from the audience.
This performance transcends the boundaries of space and time, providing a modern take on Georges Bizet’s classic opera, while masterfully performing the songs which have captivated audiences ever since its inception in 1875. This mischievous opera will get your toes tapping, all while providing a dash of Parisian magic.
With grateful thanks to Freya Saxton for this review.
