Gertsamtkunstwerk

Les pêcheurs de perles @ROH

This is of course regularly voted one of the most popular opera by Classic FM listeners*

I booked this ages ago, largely because it had Gerald Finley in the cast. Gerald is my favourite not-tenor singer, and amongst my very favourite singers of all.

I book to see a staged production at ENO in the summer, but then we decided to go on holiday instead, so I returned my ticket - and still have the credit voucher, unspent.

I had never previously heard this in its entirety. In some ways that doesn't bother me. I know there are people who say you must study the score and listen to numerous recordings before you go, and others who disagree. I don't tend to read the script before going to a film and I don't insist on seeing a facsimilie before seeing a painting.

Not that I dismiss the benefits of study and familiarisation, and occasionally, I do think - maybe I'd have got more out of that if I had been more familiar beforehand. But it often takes a live performance to turn me onto a work, especially ones that aren't masterpieces.

I was chatting with a friend beforehand. She and her husband had been to the pre-performance talk. I confessed I didn't know the plot - she assured me there wasn't one - and that I only knew two tunes - she assured me there are only two tunes.

In the interval I tweeted that it had the lamest plot ever, and was going to continue with 'I love the music', when I was joined by another friend, so my 'Makes Pelleas look fast-paced and action-packed' hung in the air like an unresolved chord whilst most of my Tweetstream was focusing on the Shadow Cabinet Elections, anyway!

As the overture began I thought, 'Oh no, lots of 19th century over-egged strings, schmaltz alert....hold on, I like that percussion, sounds a bit like Carmen. Oh, yeah, it was written by Bizet!" I think I was knitting with only one needle anyway, because when the opening singers and the conductor walked onto the stage, I thought "Gosh, that conductor looks a lot like Tony Pappano". Funny that!

Maybe I was a bit disoriented by it being a concert performance. I think I have only been to one other concert performance at ROH - although numerous concert operas at other venues, notably Barbican, Festival Hall and Albert Hall.

So, all that is a prelude to me saying: everything I write should be caveated by my total lack of familiarity with the work and it being performed in concert, with no attempts made even half-heartedly to act.

Most of the action consists of people standing around talking about what happened in the past, which doesn't strike me as being very active. Ironic, because the book on which Carmen is based in written entirely in flashback, as is Wuthering Heights, and neither of them suffer as a result. I never started to care about any of the characters nor their reasons for renouncing each other, indeed I rapidly came to the conclusion that the greatest love affair is actually between the two men, as demonstrated in the famous duet Au font du temple saint.

I had read Rupert Christiansen's review beforehand

it was a particular delight to hear the great tenor-baritone duet “Au fond du temple saint” sung with musing intimacy and quiet dignity rather than the rugby-club virility made fashionable by the dear old Jussi Bjørling and Robert Merrill recording.

And I would agree.

I thought it was a special treat having the orchestra and choir on stage. Occasionally, they swamped solo singers, but there was a greater gain from the wall-of-sound especially evident in the storm scene (which doesn't begin the work, so disqualifying it from being a great opera - that and the incredibly lame plot).

I thoroughly enjoyed Gerald Finley's singing, although it served more to confirm that he is my second-favourite singer rather than to reveal any new insights into his vocal technique. His voice doesn't make me shake at the knees but nevertheless it has a virile beauty and a purity of tone that never fails to please me.

I thought John Osborn was pleasing overall, though he did seem patchy, and although the voice has beauty, ultimately it lacks dramatic characterisation, and he had very little stage charisma. Raymond Aceto was the fourth member of the ensemble and was fine in a fairly small part.

The revelation for me was Nicole Cabell (if she has a child one day, will it be a cabelletta?). I hadn't heard her live before. When she won Cardiff, and as Musetta in the Netrebko/Villazón Bohème, she hadn't impressed me. Which is not to say I had negative feelings, simply I was indifferent.

Despite it being a concert performance, I warmed to her sensuality. It wasn't overstated and she didn't resort to hammy vamping. I really did like her voice, a warm velvety feel without ever sounding inappropriately mezzo-ish.

Regular readers will know my distaste of sopranos who consider screeching an acceptable method of reaching the high notes. Nicole got perilously close on one occasion but absolutely did not cross the line, seeming to know just how far to strain to reach the devilish high note. Although the result was a less beautiful note than the rest of her output, that in itself won her over to me.

She's 33 next week, which suggests she is entering the peak of her career. On this showing I'd love to hear and see her in more interesting roles than have so far been offered to her locally - several decent ones already in her repertoire.

I enjoyed the evening as a performance of music but I'm afraid the opera left me unmoved. I have no great desire to see it staged, although if it was done again locally I would probably go unless I had good reason not to (such as being holiday, or it being cast with detestd voices).

It is supposedly set in Ceylon (now Sri Lanka) without any evidence of it being based upon accurate ethnographic research. I'm not one for banning such operas because they offend modern sensibilities: quite the opposite, I don't think we should forget the casual but persisten racism of our forebears.

But, ultimately, I thought it a weak uninteresting story. Slightly in jest, I tweeted

they all spend two acts standing around talking about it. Think what Pagliacco had done in that time!

and

Cavaradossi's harboured a refugee, shagged Tosca, & been tortured. Even Parsifal gets to kill a goose!

And unlike Canio, Cavaradossi, Tosca and Parsifal, I felt no sympathy with any of the characters. And that's before even mentioning Bizet's masterwork, Carmen - The Pearlfishers doesn't stand comparison against it.

* bullshit, of course, the voting is on the most favourite standalone number from any opera and extrapolated to imply a love of the entire work, although I feel sure that most of the electorate, like me until this week, have not heard the entire opera

Carmen B cast

Jimmy and I took ourselves along to the Royal Opera House last night for what promised to be an enjoyable evening.

What could possibly go wrong?

A great and familiar opera, one that is simultaneously easily accessible and yet rewards repeated study. One with fabulous tunes and exciting orchestrations. A strong unconfusing and believable storyline, three dimensional characters, and to cap it all, a colourful, exciting and intriguing production.

What could possibly go wrong?

In a nutshell, it was dire.

I posted the following to a couple of newsgroups:

If the Royal Opera House claims to be one of the world's top places it has no business whatsoever employing people to whom 'provincial' is a compliment.

I speak specifically of the world's worst conductor, Philippe Auguin, who turned the Act II opening (Flamenco dancers etc) and Votre Toast into funeral dirges. I don't believe in booing, and I'm passionately anti-capital punishment, but booing's too good for the likes of those who ought to be taken out and shot (no doubt a very nice man who helps old ladies across the road and is kind to children and animals). I did get a slight frisson at the end of Act II with the "La liberte" but that was entirely down to Bizet, and nothing whatsoever to do with the shonky amateur conducting.

And I speak even more specifically of the unreservedly dreadful tenor Marco Berti as Don Jose. I had read that he is a wooden actor, and I can live with that if the voice is up to something, but he was dreadful. Rarely on pitch, and dragging his women down with him, a really ugly sound, more barking/bellowing than singing, the worst 'La fleur qui..." ever. A disgrace. Loud, yes, but I was actually covering my ears up he was that bad. In future I will actively avoid him. Loud, yes, and that might suit some opera houses, but isn't good enough for the ROH. I actually can live with the odd note being slightly off, but when 40% of the notes are wrong and I'm wincing in excruciating pain, there's a problem.

And I started dreaming about the possibilities of Andrea Bocelli in the role.

The Micaela Liping Zhang might be okay in a better role; the bass Laurent Naouri isn't good enough for a top opera house. As for Viktoria Vizin, I felt she was over-parted, yet having seen her as Maddalena (Rig) and Mercedes she's luxury casting for those roles. Perhaps with a better conductor and better leading man she might prove to be a decent, reliable if not necessarily star mezzo (there's definitely a gorgeous voice there).

But really, that was only a summary of the dreadfulness of it. Certain aspects are perhaps forgiveable. Perhaps the bass was put off actually singing Votre toast by having to do it on horseback and then dancing on a table, and certainly those same moves hadn't shown Ildebrando D'Arcangelo in the greatest light, but I would expect a decent stab at this great aria.

There is a possibility of course that Don Jose got better in Acts III and IV but I wasn't hanging around to find out. Far too much of La fleur was shouted not sung. When he found pitch he bellowed it, with no regard for dynamic markings or for a sense of legato. But even though I winced twice and tried covering my ears it wasn't actually as bad as the Act 1 duet with Micaela - Parle-moi de ma mère. I have to say Micaela is a thankless part; requiring a very good singer, but not large enough a part to merit an established name who can deal with it. And certainly Liping Zhang started off well enough, but by the time she was losing pitch thanks to the tenor she did not sound good. And he sounded terrible. When performed well, it is a gorgeous duet - so lyrical. I adore the bit where Don Jose sings so lyrically

Ma mère, je la vois!.. oui, je revois mon village!
O souvenirs d'autrefois! doux souvenirs du pays!
/ Doux souvenirs du pays! O souvenirs chéris!

and Micaela comesback equaly lyrically. Except that this was Don José in a Bayreuth bark.

As for the conductor, the tempi were slow, painfully slow. This was apparent throughout but was particularly noticeable in the opening of Act II when there are flamenco dancers. When Pappano was conducting in December, these flamenco dancers kicked up a steamy sultry display of sensual abandonment to lively rhythms; last night it was more akin to the village tea dance and the sultry sexuality was lost.

I can deal with okay, mediocre, 'good in places' and so on, but I don't like a performance which would shame a provincial opera house. Not at one of the world's leading houses.

It still hasn't been confirmed about the TV show, but I presume - hope fervently - that it will be of Cast A under Pappano; if so, I would say drop everything and watch it. If it's Cast B, I would say, haven't you got some drying paint that needs watching.

As a pre-birthday celebration it was a sore disappointment. It's like hours of my life I can't get back, hours that would have been better spent watching Jonny "God" Wilkinson rampant as the hammer of the Scots, followed by beans on toast at home.

Carmen at the Royal Opera House

That's where I was Monday. I attended the Dress Rehearsal and reviewed the production, so I won't do so again, except to add a few things I missed.

• As well as Pollyann the Donkey and Louis the horse, there were also chickens.
• In Act 3 the smugglers abseiled down the orange wall into the gypsy camp
• I missed a bit of furniture abuse - when the Lieutenant (Matthew Rose) has finished kneeing Don José (Jonas Kaufmann) repeatedly in the balls he sends him flying across the stage, knocking over a couple of chairs in the process
• Matthew Rose does the most convincing impression I have ever seen of a Middle England bloke prematurely Middle Aged getting a bit lathered up (but not chavvily leathered) on a package holiday to the Costas and dancing in a naff awkward manner

I still think the stage is a bit busy at times, sometimes you're attention is caught between two competing bits of action: eg, do you watch Lieutenant being striped to his combis, or do you watch Carmen and Don José getting seriously down with it at the other end of the stage.

Okay, the opera. Everybody who is reading this either knows it intimately or else is familiar with very many tunes from compilation CDs, adverts and ringtones. It's easy to think of it as a selection of catchy tunes, but I refuse to do that. The orchestration is the work of a genius. I forget where I read it but Wagner is reported as saying after he heard it, "At last, someone who understands." And if you don't listen to what is going on in the orchestra, you're missing a lot. It's not just about mood music: the sexiness of the Seguidilla and the gypsy song, or the lyricism of the Act III entr'acte, but also about the leitmotifs. Particularly noticeable when the Torreador theme is reprised, but I also like the premonition of doom at the end of Act III.

Orchestra good without being great. Some dodgy notes from the brass in the Prelude; also can't remember where, don't really care the odd bit that didn't sound quite right. The Hobbit kept things moving at a spanking pace and mainly brought some delightful sounds out of the band.

The singers. Micaela isn't a part I like and I was a bit underwhelmed by Norah Ansellem, which is a shame, because I have enjoyed her in the much meatier role of Violetta both live, and on TV from Madrid (2005). Otherwise I thought the singers were all wonderful. The smaller parts were all at least as good as they had to be, with Matthew Rose and Elena Xanthoudakis being particularly memorable, their stars definitely in the ascendancy.

The three stars were incandescent. Overall, they all had their moments of being rough around the edges - I think it's a role debut for all of them - but I would argue that it's immaterial that they were, because that was part of totally committed all-round excellent performances. It is conceivable that any one of Anna Caterina Antonacci, Jonas Kaufmann, and Ildebrando D’Arcangelo would take the stand-and-deliver option: (except in the case of Ildebrando where, in fairness,  sitting atop a horse gives one very little option!). The interplay between them was of the highest order, thoroughly naturalistic, never any sense of being aware that they were acting. All completely at ease in their bodies and their roles, and singing beautifully to boot. On the strength of this I wouldn't hesitate to go back to hear either of Anna Caterina or Ildebrando.

As I have already intimated, both by Twitter and by this, I have fallen totally under the spell of Jonas, who is now the deserving owner of the title "Gert's Favourite Tenor (Under-65 division)", which is in no way meant to put down the lovely Rolando, Marcelo and Juan Diego.

Honest, it's his voice first and foremost. A rich tenor with a baritonal edge,very much heading for the dramatic roles - he's got Florestan and Parsifal in his rep (Gert shivers with anticipation, especially at the thought of the latter). Not a great 'high note' tenor, but as someone once said, "The high note is not the only thing." In addition it's his stage presence, his instinctive acting ability, the way he moves, gets into the character. The fact that he is easy on the eye is no bad thing either! I first saw him in La Rondine and again in L'incoronazione di Poppea. He's cancelled live on me twice (although on one occasion it was mutual) and he's also cancelled on me on the TV. Thirteen months seems a long time to wait to see him again. I'm seeing Carmen again with the B cast and I'm completely skint,  but I am tempted to see if I can get a return.

His La fleur que tu m'avais jetée was exquisite. Such feeling, such a beautiful voice, so rich and caressing the notes, and finishing on a delightful pianissimo. I wrote a few months ago that I am not overly keen on that aria. Let's just say I am now...!

Overall, a really enjoyable experience, full of life and passion. It would be so brilliant if it was shown on TV or put out on DVD, neither of which are likely, unfortunately. But it will be on the radio, including the internets,  on Boxing Day.

There are lots of photos on ArenaPal, which is quite difficult to navigate, but follow this link and ignore the ones from Spice Drum Beat: Ghoema by David Kramer at the Tricycle, unless, of course, that interests you!

And here are a couple I took...

Jonas Kaufmann

Curtain call with Act 4 (Bull Ring) Scenery

Carmen Dress Rehearsal

Brand new production of Bizet's Carmen at the Royal Opera House, opens Friday. I go Monday.

Today was the Friends Rehearsal, where if you're lucky you can get in and see it more or less as is for a tenner. Or maybe even four quid.

Cast A was on show today: Anna Caterina Antonacci, Jonas Kaufmann, Ildebrando D’Arcangelo, Norah Amsellem, Matthew Rose, Jacques Imbrailo, Elena Xanthoudakis, Viktoria Vizin, Jean Sébastien Bou, Jean-Paul Fouchécourt.

In a nutshell, bloody good. I was a lot more impressed by the production than I thought I would be. A good few Francesca Zambello trademarks - or should I say clichés: the dominating wall cutting off a lot of the stage, too many brats doing too much, a tree (being Seville this was an orange tree), people dancing on tables. But actually, in fairness, these irritations aside it is a bloody good production.

It starts a bit strange. The curtain goes up to show a man lying on his stomach on the floor. I assumed this was Don José in prison but can't be sure. Then we have the crowd scene. This is set outside against an orange-washed wall of a house. It's perhaps a bit busy for my liking, with as, I say, brats doing unnecessary stuff like boules and hula hoops and being generally bratty. At the front of stage a topless woman bathes, but with her back to the audience (although facing many of the brats). There isn't a canal as such but there is a trough, a water trough at about waist height, that contains real water, and is good for splashing around. Also at one point the kids throw themselves over it. It's a bit strange having the soldiers' desk out in this outside bit. It also later becomes the scene for when Don José holds Carmencita in prison. In Act 1 a donkey appears, from the Island Farm Donkey Sanctuary. When the women emerge from the cigarette factory, they really are smoking.

It doesn't change much for Lilias Pastas (a female role, to many people's surprise) Place, except that the orange wall turns round a bit and has a staircase going up to the bedrooms, which we don't see. There are long tables (on which there is dancing). Escamillo arrives on a horse. A beautiful brown horse, but its horsebox was unmarked. At one stage it did turn its back and reverse to towards the edge of the stage. I doubt I was the only who had visions of horse plus baritone careering into the orchestra pit.

The orange wall turns into mountains in Act III with a handy walkway in the sky. In front is pitched a tent, and real fires burn. Atmospherically, it is splendid. The orange wall serves at the perimeter of the bullring in Act IV. Sadly, there is no actual bull on stage, although the horse reappears in the parade, bearing Carmencita. There is also a spectacular float with a Madonna statue and candles. In fact there is no visual representation of a bull at all. So this is the Animal Rights Carmen.

The dancing was of a high standard. The Flamenco at the start of Act II was excellent. Quite rough and lewd. I don't think they were Royal Ballet dancers, because the women were quite, well, normal sized, definitely not ballerina size. The Toreadors and Picadors in Act IV also looked good.

I have to say it is verging on the criminal to assemble a cast like this. I would stick my neck out and say it is in danger of being the sexiest cast ever assembled on an opera stage. Google Images and you'll find pictures of some reasonably good looking guys and gals, but that doesn't really explain the sheer sexual fizz on stage. It was staged as a deliberately sexy production. In the interval I texted that it has a psycho-sexual subtext, mainly Bondage and Domination, but on reflection, there is nothing 'sub' about it. Correctly, Don José starts as repressed, but things begin to change. The Seguidilla is very raunchy, very overtly sexual. I heard a great rustle and thought that the prudes were rustling newspapers in embarrassment, until I realised it was the sound of dozens of professional cameras in the orchestra stalls going into overdrive. Don José is tied to a chair by Carmen, then she throws the chair and him to the floor. Furniture abuse and tenorial rolling on the floor in one easy move.

In Act II Escamillo arrives arrogant and drop-dead gorgeous on the horse. Sadly, there was an absence of opera cliché of baritone removing shirt. Ah well, I'm sure we'll see him as Don Giovanni sooner or later. The sex scene between Don José and Carmen is precisely that, and if you're not turned on by now, you're not listening to the music. Another opera cliché is avoided when he doesn't finish the Flower Song with his head buried in her groin, but rather, on his knees. I can't quite remember the sequence of events but she certainly throws a chair at this point. And I think he rolls around the ground a bit more.

The return of the lieutenant and then the smugglers is pure comedy. I am puzzled at Jean-Paul Fouchécourt being cast in such a minor part, because he completely steals the scene, especially when he has Matthew Rose tied up (Jean-Paul is tiny and his head reaches about chest level on Matthew). I blinked, or was distracted at the bit where Matthew is stripped and ends up tied to the chair in his long-johns and vest.

Act III starts with Micaela's aria, which is the big moment for the sop, but, frankly, I can take it or leave it. This is not an inferred slight at Norah Ansellem, by the way, it's always the low point of the opera for me. One of the best scenes was the knife fight between Don José and Esamillio with an obligatory homoerotic sub-text when José has Escamillio over a pouf, I mean a bale of contraband goods, then we get a baritone rolling on the floor as José stabs his knife ominously into the bale.

The final act starts with a spectacular of the parade. Not quite the cast of two million as seen at the Albert Hall, but, nevertheless, a great parade. Then the crowd all disappear through the door in the orange wall, leaving a confrontation between Carmen and Don José. Nothing vanilla about this. Much of the scene is an attempted rape, him flinging her around, her struggling to escape. At one stage, again I blinked, he throws away from her what appears to be a black under-garment, you know the way men do that. By this point his shirt is unfastened to the waist. I can't be sure because I was in Row P without binoculars, but there did seem to be a tragic lack of chest hair.

The costumes were fine, some (the bullfighters) better than others. I was going to say that there is plenty of scope for connoisseurs of cleavage, but it's not really cleavage so much as 'barely decent'. Indeed when, Carmen and Manuelita are having the knife fight outside the factory, I did wonder whether Manuelita was going to fall out of her dress. And Carmen has plenty of décolletage on display at all times.

I had been a bit worried about this. Everybody says it's such a hackneyed opera, and I was fearing that a crap production would make it a damp squib. But I loved the production - despite a few niggles - and I remembered how much I like the music, especially from the orchestra, but also the arias, too. Obviously, being a rehearsal it's unfair to say anything about how well people performed. Just say I am very much looking forward to seeing it for real on Monday. I'd say Run Don't Walk to the Box-Office, but there are no tickets available for under a hundred, so it's Day Tickets, Returns and Ebay. Although somebody should send a complimentary ticket to Katherine Jenkins so that she might understand why she is such a sham in calling herself an opera singer...

Interview with Anna Caterina Antonacci

Carmen at RAH

We're off to see Gubbay's Carmen next weekend. Should be interesting, at the very least.

According to this review

The final murder is accompanied by a slow-motion enactment of Escamillo's triumph in the bullring, which blunts the scene's impact.

I have been trying to convince Jimmy that there is a real bullfight; he says he's not going if there is; I opined that probably RBKC wouldn't licence a bullfight.

It's not clear from this review whether any real animals are used.

Carmen

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.

Carmen

This time last week, I was at the Colliseum for ENO's Carmen. To be honest, the reviews I had read were rather dismissive, so my expectations were quite low. I had quite forgotten that critics want performances worthy of years of raving, and bleeding edge production. Me, I want to enjoy myself. And I certainly enjoyed myself! I wrote an instant reaction at rec.music.opera, which I have reproduced in the Extended Entry below.

I would highly recommend Carmen as an opera to go for as a first one. The story is compelling - I currently have Mérimée's novella on my coffee table. The characters are great - Carmen, this wild gypsy woman who seduces Don José, who's basically a Mummy's boy. He deserts from the army, and joins her gang of smugglers/bandits as an outlaw. She bores of him and falls for Escamillo the glamourous toreador. Don José returns home to visit his dying mother, then kills Carmen outside the bullfight.

But best of all is the music. All of it familiar, some of it woven into the very fabric of our culture. There are great opportunities for the director and for actor-singers: when Carmen sings her seguidilla just before Don José is supposed to escort her to jail; also the second act duet between the main protaganists. These were reasonably entertaining but lacked a certain fire. I also totally adore the first act duet between Don José and Micaëla, but I think it was weak in this production.

Just generally, the music is so well written and so catchy, and, last week, I thought the orchestra was splendid, so it was impossible not to be humming it all the way home.

I have three different versions on video or DVD. I would say that if you only want one opera DVD in your entire collection, I would get Carmen, and I would get the film version.