The beauty of London’s Royal Opera is mesmerising in itself as I sat only a few rows from the stage and orchestra pit where, hidden below, conductor Mark Elder masterfully led The Royal House Orchestra in the first revival of Damiano Michieletto’s production of CARMEN.
The audience found itself brought into a modern setting in this interpretation of Georges Bizet’s popular opera. Having premiered in 1875, the sharp contrast from the traditional setting was strikingly different in Damiano Michieletto’s version, which keeps the lust, violence, and passion that made the original famous.
ACT I: The Tragic Genius of Georges Bizet and his Beloved Carmen.
It is heartbreaking to learn that when Georges Bizet died on 3 June 1875, he had tragically only experienced the negative reception that his opera CARMEN received; however, after his passing at age 36, critics soon changed their tune, and the opera began receiving worldwide praise.
CARMEN has fascinated audiences with its bold depiction of sexuality and violence, as well as Bizet’s famous compositions that immediately capture any audience’s attention. It has remained one of the most beloved operas.
Set in Seville, Spain, CARMEN is a tragic opera about a young free-spirited gypsy woman, who becomes involved with a naive policeman, Don José; however, their passionate love affair is short-lived. As his jealousy consumes him, Carmen soon tires of his behaviour and finds a new lover in bullfighter Escamillo, which in turn leads to tragedy.
ACT II: An Interpretation that Modernises a Classic.
Director Damiano Michieletto’s interpretation of CARMEN pulls the opera into the present, where the world of Seville mirrors more the police stations, nightclubs, and barns of modern Spain than the streets and buildings of the 1780s. He transports Georges Bizet into the present.
The staging of the four Acts brings a minimalistic approach to the opera as each set consists of one structure that rotates on a moving stage, giving the audience varying angles of each location. One may find the modern approach to the set design a refreshing take on an old classic where neon pink highlights the roof of a nightclub with an equally pink interior; however, others may feel that this modernisation of CARMEN detracts from the opera’s original romanticism.
The use of a large light grid that hangs above the stage brightens the sets with a variety of colours. This becomes more apparent at the end of the opera when the entire grid lowers behind Don José and Carmen. The lighting in this CARMEN is hard, creating a cold atmosphere. Perhaps this choice is meant to unsettle us, defusing the romanticism of a traditional interpretation.
The modernism of CARMEN is also found in Carla Teti’s costume design, which uses both bright, colourful patterns and plain, simple clothing to either signify the sexual liberation of Carmen and her friends or the pious nature of Micaëla and Don José’s mother.
ACT III: The Exceptional Talent on the Royal Opera Stage
Returning to the role of Carmen, mezzo-soprano Aigul Akhmetshina graced the stage once more as the destructive seductress, exuding the electric sexuality of a femme fatale who cares only for her own happiness and pleasure. A former Jette Parker Young Artist, Akhmeshina is the youngest to perform as Carmen in both The Royal Opera and The Metropolitan Opera, making it her international signature role.
Opposite our Carmen, English-Italian tenor Freddie De Tommaso commands the stage as Don José, her ill-fated lover. His performance captures how Don José’s emotions chaotically shift between obsessive love and a deep-seated duty. This is De Tommaso’s first time on the Royal Opera stage.
Yaritza Véliz joins the cast as Micaëla, the love-lorn admirer of Don José, whose unrequited love leads her into danger. Also a former Jette Parker Young Artist, Yaritza Véliz’s portrayal of the earnest Micaëla is compelling, showing us her desperation to save Don José from moral ruin.
ACT IV: One Interpretation is Different from Another
Some might find the modern rendition of CARMEN a way to revitalise and energise what has been classically portrayed for 150 years. A modern approach can introduce a long-established work to a new audience who may relate more to a present-day story. More seasoned opera goers may also be intrigued by a new twist on an old favourite. However, others may find the modernisation of CARMEN a distraction from the traditional intention. Opinions will differ, and as we all know, beauty is in the eye of the beholder.
CARMEN at The Royal Opera House – Tickets from £13, available online.
9th April to the 3rd July 2025
The performance lasts approximately 3 hours with a 25-minute interval
Sung in French with English subtitles
