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OPERA - Carmen
State Opera of South Australia

DIANA CARROLL - Reviewer
INDAILY - 7.11.11

GEORGES Bizet's Carmen proves once again that the power of the pussy is both timeless and universal. From soldiers to smugglers and toreadors, the men of Spain are unable to resist the sluttish charms of Carmencita.

This production of the old French favourite has been well run-in. Originally directed by Francesca Zambello for London's Royal Opera House and the Norwegian National Opera, this is the Opera Australia iteration directed by Matthew Barclay.

Designer Tanya McCallin and Lighting Designer Paule Constable have captured the warm russets and deep ochres of the Spanish landscape. The staging is evocative of the images of Goya. Is that his Duchess of Alba sitting in the background clutching her Bible?

This is, indeed, a very Catholic reading of Carmen; a clear juxtaposition of Madonna and whore. Indeed, the Madonna herself appears surrounded by candles in the last Act. Then the whore meets her inevitable fate as the virginal Micaela, dressed appropriately in blue, looks down from above.

Milijana Nikolic gives a fine performance in the title role. In the first two Acts she exudes a wanton lust for life in her every move. Her passion is somewhat subdued in the second half when she realises she has made some rather life-limiting choices, but still she remains defiant and feisty. Nikolic is an effortless mezzo-soprano who imbues every line with feeling. Antoinette Halloran is magical as Micaela, offering a perfectly buttoned-up counterpoint to Nikolic's overt sexuality. Halloran's clarity and vocal precision cut through the air like a dagger.

Rosario La Spina imbued Don Jose with rather less complexity than I expected. Here is a man who we know is capable of murder, who deserts the military, and who abandons his fiancee and his dying mother. We need to see more of Don Jose's inner turmoil if he is to be anything other than a rather nasty little man.

The big production scenes, in the square and at the gypsy camp, are the highlights with fine singing from the Opera Chorus and good movement around the stage. The boys of the State Opera Children's Chorus were a tribute to their tutors.

But where were the animals? When this production has been staged elsewhere opera-goers were treated to donkeys, horses, and chickens on stage. Surely a Spanish square in the 1850s would have included a goat or two? And what gypsy encampment is complete without a mangy dog for company?

Escamillo's triumphant entrance on a massive black stallion would be a sight to behold. As it is, we have to settle for Simon Thorpe's gloriously warm singing and dignified presence, although stronger projection would add authority to his role. The Adelaide Symphony Orchestra, with concertmaster Natsuko Yoshimoto and conductor Alexander Briger, gave a light and airy interpretation of Bizet's superb score with the woodwind and percussion often taking the lead to fine effect. Carmen is showing until November 12 at the Festival Theatre.

ENDS