Carmen

Company: Opera Queensland

Dates: to 29 May 2004

Feminist or harlot?

Carmen is so well known as an opera that audiences generally flock to see it. Such was the case of the latest Opera Queensland production — nearly every performance was a sell-out.

This is not Carmen as she has previously been seen, however. Lindy Hume’s 2002 production, which has been revived by Richard Jones for Opera Queensland in 2004, portrays Carmen in a slightly different way.

Described as the “feminist” Carmen, this production downplays the Spanish clichÈs and focuses more on Carmen’s individuality and independence. While previously she has been portrayed as a wanton woman, in Hume’s production she is merely wishing to be in charge of her own destiny, using whatever means to achieve that end. This opera is less about love and more about power.

Carmen is a worker in a tobacco factory who falls foul of the law when she attacks a fellow worker. She manages to seduce the prison guard, Don Josè, who allows her to escape, going to prison for his crime. Later Don Josè goes to meet Carmen in a tavern where he declares his love for her. She demands that he desert his regiment, which he does so, begrudgingly. Carmen soon loses interest in this mummy’s boy from the country and casts him aside for another man, the dashing Torreador, Escamillo. Unable to contain his rage, Don JosÈ takes his terrible revenge.

Yvonne Fotane is stunning as Carmen. She manages to combine a sublime vocal ability with a wonderful stage presence and skillful acting. The result is that the audience cannot take their eyes off her. Supporting her are Dominic Natoli as Don Josè and Jeffrey Black as Escamillo, who both give admirable performances. Most of the credit goes, however, to Fontane, and the Opera Queensland chorus. This is full cast opera, and the chorus provide some spine-tingling moments, making the most of Bizet’s wonderful score.

The cast and costuming are simple and quite stark, but are used creatively to set the contrasting scenes of the tobacco factory, the bar, underground caves and an amphitheatre.

Hume’s interpretation of Carmen certainly resonates with modern audiences, and is also an excellent example of how opera written in the nineteenth century can be made to retain its appeal. I hope that it returns to Queensland audiences in the not-too-distant future.

Linden George

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