CARMEN

The familiarity of Bizet’s most popular work makes it a must see choice for opera lovers but equally for those less familiar with joy of live opera. And it is indeed a great start for any newcomer, not only is it packed with great tunes, it also has a good and easy to follow story.

And story telling is something that Ellen Kent and her amazing Ukrainian company never shy away from. This opera delivered in the classic form, no messing with setting or twisting of the text here, and it’s all the better for that.

Carmen as a story very much depends on an intense sexual chemistry between the three love-crossed principals. You have to believe that both Don Jose and Escamillo are drawn inextricably to Carmencita, so much so that their rivalry will end badly.

Carmen is a siren, a driven woman who exudes a visceral sensuality and my word did we get that from Natalia Metvieiva. Her powerful voice matched by an excellent dramatic performance so often missing, this was real theatre.

Davit Sumbadze’s Don Jose was equally believable as the solid corporal, dignified, fighting against the stirrings that Carmen evokes and eventually falling for her charms and into disgrace.

Escamillo is a more challenging role, it requires a maturity of voice but equally needs the sparkle of glamour, maybe even youth as he is the equivalent of perhaps a pop star. Eurie Gisca certainly has the voice, at times last night perhaps a touch tardy, but only a touch, and what he brings vocally certainly make up for him being just a little too old for the role.

Alyona Kistenyova’s Micaela is sweet in voice and gentle in her portrayal of the innocent village girl who loses her love to the vibrant Carmen.

Anastasiia Blokha and Marharyta Bohachova sparkle as Frasquita and Mercedes and when joined by Vitalii Cebotari, Nicolae Cebanu with Metvieiva for the galloping quintet the production really comes alive.

The orchestra under the baton of Vasyl Vasylenko never flag in delivering Bizet’s full on score and special mention must go to chorus mistress Kateryna Kondratenko-Savienkova who moves around the stage simply oozing mischievous sensuality.

What Ellen Kent achieves is both wonderful and important, taking major classic opera around the country to venues both big and small and reaching audiences who for whatever reason, whether it be geography or pocket, would not otherwise have access to these important works. Ellen gets five personal stars every time. This production of Carmen is stylish and unadulterated and for that reason alone is worth every penny of the ticket price.

Andrew Kay

3 May

Theatre Royal Brighton

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