★★★★
With more than a century of accolades under its belt, it can be easy to forget that Georges Bizet’s Carmen was the Bold And The Beautiful equivalent of 19th century opera.
Considered by its contemporaries to be scandalous and erring on the side of trashy, it was only celebrated as a convention-breaking masterpiece after the composer’s death. John Bell has stayed true to Bizet’s penchant for reinvention by trading in the gypsy skirts of Seville for a vivacious modern Cuba, selfies and all.
The ultimate cautionary tale against sexually awakened women, Carmen follows the tumultuous love affair of Don José (Yonghoon Lee), a naive soldier who falls desperately in love with a gypsy girl whom he then murders after she grows tired of him. Ignoring José’s history of violence and the fact he abandons his betrothed, Carmen is generally depicted as the villain of the story due to her loose morals and desperate need to be loved and desired. Fortunately, Opera Australia’s production discerns the complexities of the characters and portrays Carmen as more than a mere succubus.
The striking juxtaposition between the beautiful yet crumbling architecture and the vivid, sometimes mismatching costumes is immediate. It feels as if costume designer Teresa Negroponte drew inspiration from a Dangerfield sample sale, and this contrasts nicely with the strident military presence on the set.
Simultaneously retro and modern, Carmen’s complexity and contradictions between the setting and the costumes is a clear reflection of the societal turmoil that’s under the microscope. It also feels entirely familiar – having the ‘Toreador Song’ performed against the backdrops of lanterns and a food truck feels like something out of a hipster wedding in the Inner West.
Clementine Margaine brings a refreshing depth of character to Carmen – seduction is punctuated with the intelligence and perception that she expertly weaves into every note. She also highlights the character’s insecurities, particularly during José’s initial indifference. This Carmen is a lost young woman who uses her sexuality to mask her inner demons.
Similarly, Natalie Aroyan portrays Micaela as more than a prude whose height of excitement is a three-second open-mouthed kiss. Her sweet notes also betray a quiet determination and bravery that exceeds her moral duty. These subtle yet positive steps are refreshing for modern audiences who find the madonna/whore characterisation of women trite and jarring.
Carmenis playing at the Joan Sutherland Theatre, Sydney Opera House until Friday August 12.
