CARLOS ACOSTA’S CARMEN
Over my years of seeing many productions of Bizet’s masterpiece I have seldom been as moved or excited as last night seeing this brilliant interpretation from the Cuban genius that is Acosta. At the Royal Opera House José Carreras had a voice of gold but could not act and Teresa Berganza was simply too old to be convincing.The 1983 Peter Brook version has by far been my favourite adaptation, but after last night’s extraordinary and astonishing performance my heart has shifted.
Of course purists may quibble that perhaps it is ridiculous to pitch opera against ballet, but in terms of story telling this certainly comes out on top. It is testament of course to Bizet’s beautiful score that the orchestral music alone, without any vocal presence, is so able to stand on its own, and in using Rodion Shchedrin’s stunning orchestral arrangement with additional music by Martin Yates, Yhovani Duarte, and Denis Peralta to enhance the Cuban flavour of the work, the entirety becomes so very cohesive and so very passionate.
And passion is at the very heart of this, it is intensely passionate, sexy and erotic. Acosta’s sensuality is fearless, every move is packed with intent, with purpose, he uses dance to tell the story so explicitly that not one move or gesture is surplus to requirement. That said, this is complex in its choreography and demanding of the entire company from start to finish. The corps de ballet are quite beautifully accomplished, their physicality matched step for step by both their elegance and precision.
Alejandro Silva is perfect as Don José, an air of innocence as he is caught in the spell of the siren and succumbs to her charms. He is every bit the lover, infatuated yes but as a lover.
In contrast Escamilio’s infatuation is carnal, an animalistic passion so brilliantly danced by Paul Brando. The contrast between the two lovers is perfectly told through Acosta’s talent and perfectly presented by these two fine dancers.
Throughout, the haunting presence of a bull is delivered by Franc Issac, fierce and almost demonic, it sets a sense of both time and place to the whole.
Tim Hatley’s set and costumes are perfect in every sense, simplistic in part and beautifully detailed in others, and Peter Mumford’s lighting is equally effective, never straying into some of the excesses we are seeing on stage as technology affords artists so broad a palette. The same can be said of the video design by Nina Dunn, wonderfully restrained yet totally effective.
Finally of course we come to Carmen and Amisaday Naara in a breathtakingly astonishing performance that was both fierce and still sensitive. This incredible human appears to have no limit to her physical flexibility, her ability to deliver every moment of Acosta’s exacting choreography and direction. But this is no display of simply those skills, this is a performance born of excellent acting. She is in every breath and every move the Carmen that we want to see and believe in.
I could have sat through the whole again immediately that final curtain fell, such talent, such artistry and energy and ultimately a very fine telling of one of the greatest love stories of all time.
Andrew Kay
29 April
Theatre Royal Brighton
Rating:
