Importance Score: 20 / 100 🔵
Aigul Akhmetshina’s Carmen Dazzles in Royal Opera House Revival
Soprano Aigul Akhmetshina has once again garnered significant acclaim for her portrayal of the title role in Damiano Michieletto’s production of Carmen at the Royal Opera House. Following her praised performance last season, Akhmetshina’s return is met with even greater enthusiasm, cementing her status as a definitive Carmen. The Russian mezzo-soprano demonstrates remarkable growth, embodying the character with both vocal prowess and compelling stage presence. Her instrument is notably rich, particularly in the lower register demanded by Bizet’s composition, and her commanding acting convincingly illustrates Carmen’s allure and control over the men in her orbit.
Production Design and Direction: Michieletto’s Vision
However, reservations persist regarding Michieletto’s overall production concept. The Italian director’s staging is characterized by a blend of inventive ideas, some of which prove strikingly effective, while others range from superfluous to perplexing. On the positive side, the character development is strong across the ensemble. The opening town square scene, featuring unruly children, effectively establishes a chaotic atmosphere, foreshadowing the ensuing turmoil. Furthermore, the portrayal of the smugglers in a subsequent act is convincing, depicting them as seasoned and professional criminals.
Unclear Symbolic Elements
Conversely, the inclusion of a silent, enigmatic female figure dressed in black remains a puzzling element. This character appears at the outset, slowly traversing the stage, and reappears later without clear justification. While purportedly representing Don Jose’s mother, her intended symbolism – whether as a manifestation of conscience or a spectral presence – is ambiguous and ultimately detracts from the narrative’s clarity.
Questionable Staging Choices
The recurring appearance of children holding cards indicating time progression (“two weeks later,” “a few days later”) initially presents a subtle, charming device. However, their final appearance with jumbled cards descends into ill-judged humor at an inappropriate moment. The subdued and somewhat embarrassed audience reaction confirmed the misjudgment of this staging choice.
Vocal Performances: De Tommaso and Golinski
Tenor Freddie de Tommaso delivers a superb rendition of Don Jose, the character manipulated and ultimately abandoned by Carmen. Often depicted as simply weak-willed, Tommaso’s interpretation presents a more nuanced Don Jose, grappling with internal conflicts arising from duty, passion, and romantic entanglement. The dynamic between Tommaso and Akhmetshina is particularly compelling, as Carmen fluctuates between ardent affection and brutal rejection, resulting in scenes of genuine dramatic tension.
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In comparison to the commanding performances of Akhmetshina and de Tommaso, Polish bass-baritone Lukasz Golinski’s portrayal of Escamillo, Carmen’s new love interest, is less impactful. Nevertheless, he brings an engaging flair to his confrontation with Don Jose, creatively utilizing his jacket as a matador’s cape during their fight.
Veliz as Micaëla: A Standout Supporting Role
Chilean soprano Yaritza Veliz shines as Micaëla, who implores Don Jose to return to his mother. Like Akhmetshina, Veliz is an alumna of Covent Garden’s Jette Parker Young Artists Programme, underscoring the program’s continued success in nurturing exceptional vocal talent.
Overall Assessment
In conclusion, this revival presents a five-star caliber of vocal performance within a production that, while ambitious, ultimately merits a three-star rating. The opera itself, however, remains a timeless and magnificent work.