Brief Synopsis
Carmen, the most famous of Bizet's operas, with its exotic Spanish setting, introduced a note of realism into opera that proved unacceptable to many who saw the first performances. Objection was taken to the ‘wild and immoral’ behaviour of Carmen herself, the chorus of cigarette factory-girls (and their smoking) and the final murder of Carmen on the stage. Set in Seville, the opera deals with the love and jealousy of Don José, who is lured away from his duty as a soldier and from his childhood sweetheart Micaëla by the gypsy, Carmen. Later, he allows her to escape from custody and is persuaded to join the smugglers with whom Carmen is associated, but is driven wild by jealousy. This comes to a head when Carmen makes clear her preference for the bullfighter Escamillo. In the final act, as the crowds assemble outside the bull-ring in Seville, Don José tracks down Carmen and kills her.

The torrid story of the eponymous Spanish gypsy and the spell she weaves over a helpless soldier was brought brilliantly to the Bryanston stage in Paul Higgins' production last week, and the Dorset Opera Orchestra under the vigorous and expressive baton of Jeremy Carnall, has never been better.

The company's Artistic Director, Rod Kennedy, had a potential disappointment on his hands when the much-heralded Denyce Graves billed as Carmen for two of the four performances, failed to turn up. But the impact was quickly reversed when another American mezzo, Katharine Goeldner, agreed to sing. She flew from her home in Salzburg, drove to Blandford and stepped into the role, giving local audiences there a first chance in the UK to hear a voice that is newly booked for performances at the major British companies.

And a treat it was. It is vital that a central role is not only sung but acted by a charismatic performer who not only convinces with every note and movement, but that her presence is irresistible and potentially fatal.

Soldiers laze around in the heat of the day waiting to catch a glimpse of the girls who work in the factory, and all of them wait for Carmen – last out of the doors for maximum impact.

On the day that starts the opera, based on Prosper Merimee's novella, Don Jose is among the soldiers. In this production he is a mature man, still heavily dependent on his mother. His beloved fiancée brings him a message from home, but before he can hear it, Carmen sees him and homes in on her latest prey.

His entrapment is immediate, and so when, six months later, he has served time in prison for her and is now a member of a brigand gang waiting in the hills for their victims, he learns she's been seeing someone else, he has no resources to combat his anguish.

Her 'other man' is the local hero toreador, Escamillo, and she leaves with the hunk in the suit of lights, without compunction.

Franco Pomponi was the ideal bullfighter, all testosterone and confidence, and John Hudson was a touching Jose, a man whose plans for an average life were overthrown by the charm of the gypsy.
There was an exceptional performance by Christine Arand as the abandoned Micaela, following on from her memorable Liu in Dorset Opera's Turandot.

The chorus found its voice in the second half of Carmen, once again proving the value of a company in which amateurs and students can work with a professional team to create a fine ensemble for public performance.
© Gay Pirrie-Weir

In Bizet's masterpiece of Spanish passion, the high standards that audiences have come to expect of Dorset Opera are happily maintained, thanks largely to the inspired delivery of orchestra conductor Jeremy Carnall and a superbly flamboyant Carmen sung with precision and style by Katharine Goeldner.

The fast-paced and energetic overture was followed by a somewhat muted and colourless opening scene, and the action on stage did not pick up pace until the children arrived with their lively chorus.

Once the drama got under way with love attained, love denied and love revenged, the famous musical score took over, helped in no small measure by John Hudson's Don José who brought dignity and integrity to the role Carmen's tragic lover…

… opera is about music and the combination of Bizet's score plus the dedication and enthusiasm of the performers was enough to create an enjoyable and stimulating theatrical treat.
© Marion Cox