Another in my very occasional, alphabetical series of Opera reviews from my collection.
I have already had a go at Aida and La Boheme, the AB of the so-called ABCD of opera. Next up is Bizet's Carmen, the 'C'.
Rest assured, I think it is deserving of its place in the firmament, and it really doesn't surprise me that it is the world's favourite opera. What is very sad is that it was critically panned at its opening and three months later Bizet died, a broken man.
I am going to stick my neck out and say that if you have never seen an opera live, on TV or on DVD, this is the one I would start with. As far as live performances are concerned, they are not difficult to find in most civilised places. Here is an indicative list of performances in the next few months. I say indicative because, for example, the database doesn't include the Raymond Gubbay production at the Albert Hall next February.
On the other hand, you could just get a DVD. Being the world's most popular opera, there is no shortage of DVDs available. Most are a film record of a stage production. The one I would recommend, however, is different - it's actually a filmed-on-location feature film: This stars Julia Migenes as Carmen, Plácido Domingo as Don José and Ruggero Raimondo as Escamillo.
The libretto is based on a novella by Prosper Merimée, which I read during the summer and found it to be an interesting insight into the opera, somewhat darker, and definitely worth a read, but I think I would get to know and love the opera before reading the book.
Firstly, I'll get the criticisms out of the way. It opens with a bullfight, which I know may offend some people. But if you fast forward, you won't miss any plot and very little music. Me, I don't anthromorphosise, and I only see animal rights in the framework of how it reflects society. It certainly isn't stomach-churningly squeam making.
My other criticism is that the audio track was studio recorded and the dubbed onto the film bit, but although it is noticeable to begin with, I soon get used to it and don't notice it for the rest of the film.
You are absolutely guaranteed great music throughout this opera, with very many of the tunes being highly familiar, not least from ringtones... Indeed, you will be amazed at how many of the tunes you don't know; the ones that you don't you will like because they are tuneful and are written to ensure implantation in your brain.
This was filmed in and around Seville, with an extras cast of thousand, in the style of Cecil B DeMille. It is a visual feast of the highest quality, the vibrant colour of the crowd scenes contrasting with the breath-taking beauty of the mountains. It is worth watching merely for the use of colour.
The story is fairly straightforward, and rather than rehashing it here I'll link to the Met's very full synopsis. Suffice to say it fits squarely into the "Stupid Man" category. In the opera, he comes across as a deluded fool; in the book there's a violent unlikeable streak in him, in the opera, well, generally, we have to feel sympathy with the tenor hero, so he is likeable. But stupid.
The traditional analysis goes that Carmen, as the wild, fickle gypsy woman is all to blame, because she led him on. But my analysis is that he knew what he was getting into. He had the option of marrying Micaela, he knew that Carmen was trouble, but he went and fell in love with her. Fair enough, but then she made it quite clear that she no longer had feelings for him, a message he refused to hear, so, in my opinion, he's the architect of his own downfall.
It's difficult to say which bits I like best: In Act One alone, there's the overture, which is wonderful. Then the women have a break from the factory, which is a brilliant mise en scene. This is followed by Parlez moi de ma mere, which is a gorgeous duet. Plácido sounds really fab, but, I have to say, I think the soprano playing Micaela is the weak link in this film. I missed the chance to hear him sing this with Angela Gheorghiu and that's my own stupid fault. BTW, I don't really rate the soprano's rendition of "Micaela's Aria" either.
Then we get one of the most sizzlingly sexy scenes ever in film, where Don José has Carmen under arrest prior to taking her off to jail. Regular readers know that I totally adore Pláci, and, therefore, you will assume that I am bound to say he is totally wonderful in this. But he is. I was madly in lust with him before this film was ever made. But if I hadn't been, this film would have made me. He is just incredibly sexy throughout, and gets sexier from Act to Act. You know, if I didn't like the music, nor the story, nor the scenery, I'd still watch it just to lust over him. Opera as porn, sort of.
Someone once said "Sometimes a cigar is just a cigar". But not in this film. I defy anybody to find an example anywhere where the seemingly simple act of smoking of a cigar is so suggestive of smouldering sexual desire. And even the ash falling from the cigar is redolent of sexual symbolism.
This followed in Act 2 by a scene that is as sexy, or possibly even more so. When I first saw this I finally realised that cinematic representation of sex is far more effective when hinted at rather than explicitly choreographed. The Flower Song, when merely listened to, is one of the most boring arias in the rep that crops up again and again on compilation CDs. But acted - and acted as smoulderingly as this. I defy any red blooded woman to watch this without feeling damp below...Especially the bit where she runs her toes through his chest hair. OMG.
Act 3 is the least interesting musically, but the most interesting scenery wise, and dramatically equal to the other acts. And Don José is looking sexier by the minute.
Act 4 opens with the most amazing music that would - and does - stand alone as an orchestral piece. Used brilliantly here as the background to the build up to the bullfight. And then breaks into that tune immortalised by ringtones the world over.. I won't reveal the ending, just in case. I read some comment somewhere from Plácido where he said the ending is filmed wrong, because it should focus on Don José, but the final shot is of Carmen surrounded by her female friends. Even if dramatically wrong, it does make a fabulous final shot.
Julia Migenes sings Carmen well, and acts the role brilliantly. Ruggero Raimondi is a good, arrogant Escamillo, the toreador. And generally, the supporting cast is up to scratch. but I am of the view that, despite the name of the opera, the main role is Don José, and I am very much of the view that the star of this film is Plácido Domingo. Which is why I often play it just to stimulate my lust.
You can read about the making of the film, including Pictures
I also have a DVD of the Met version from 1987 with Agnes Baltsa as Carmen and Josep Carreras as Don José. This really isn't chopped liver, and is enjoyable to watch, especially the two leads who are excellent in the roles.
The set is lavish, and the cast of hundreds is spectacular - but this is being compared to the real setting and the cast of thousands in the film version. James Levine conducts wonderfully, really making the orchestra zing at times. If you love Carmen, I would suggest that you also get this DVD, but if you just wanted one, well, I've already done the sales pitch.
