From the beginning of the overture, Saturday’s performance of Carmen held great promise. Robyn Greenwell’s traditional-style design drew you into 19th century Seville, while Coralie Lewis’ costumes and the wigs of Ralf Jorg and Peta Taylor helped the cast to fill the stage with colourful and authentic characters.
Well-chosen projections effectively created town streets, a gaol, a mountain hideout and the bullfighting arena with little need for props. Another professional edge was added as the cast sang in the original French language of the opera, while subtitles could be followed on monitors dotted around the hall.
For me, the opening scenes could have had more impact, to prepare the arrival of Carmen. Once the story brought us to Lilas Pastia’s tavern, the performance grew in strength, drawing a clear contrast between Don José’s guilt-ridden approach to life and Carmen’s clear philosophy to be her own woman. After interval, the principals were at the top of their form, both dramatically and vocally, and gave the opera its darkly inevitable and tragic ending.
At Saturday’s show, Carmen was sung by mezzo-soprano Anthea Harrington, with a lustrous, well-projected voice and authentic acting. Spinto/heldentenor Rafael Hudson sang the role of Don José. A stronger depiction of the conflicted José would have boosted the effect of Mr Hudson’s performance, but his voice gained expressive freedom as the show moved on, projecting his character through his voice to great effect. The well-known Toreador Song falls to Escamillo and PJ Willis thrilled the audience with his confident and pleasing melodic singing. Micaela was beautifully voiced by Marian Maroney, and effectively gained audience sympathy, as Micaela attempts to lead Don José down the right path.
Fine voices filled out the roles of Frasquita (Emma Lewis), Mercedes (Joanna Andrew), Remendado (Jack Andrew) and Dancairo (Ezekiel Weedon) – especially good in their quintet. Zuniga (Malcolm Young) and Morales (James Walker) added their parts to the drama, and the big chorus numbers were very enjoyable indeed.
Christopher Bearman OAM led an excellent orchestra, reduced in size to suit the hall. Their playing faithfully supported the chorus and principals, in addition to creating the beautiful interludes that Bizet created just for the orchestra.
It is now too late to see this production, but you are encouraged to watch the Opera Hunter website and make sure you are there for their next.
Dr Jennifer Barnes OAM
21st July 2024
Images by Rosa Doric
As producer, I am especially proud of our Carmen production in 2024. This was the company’s third Carmen since 1993.
Our two Carmens were Ellen Malone, and Anthea Harrington, both excellent. Our two Don Jose’s were Sam Elmi and Raphael Hudson both were vocally and dramatically spectacular.
All the casts were very successful, and the Opera Hunter Chorus were outstanding. We have set a precedent singing in French, and hopefully the company will continue to present future operas in the original language.
Mercia Buck