by usia review
Georges Bizet’s Carmen at the Coliseu de Lisboa. Passion, Freedom, and the Eternal Power of Opera
Opera in four acts by Georges Bizet, libretto by Henri Meilhac and Ludovic Halévy, after Prosper Mérimée’s novella (1845).
Carmen is Bizet’s final opera and undoubtedly one of the greatest successes in the history of lyric theatre—perhaps the most frequently performed opera worldwide. Ironically, Bizet did not live to witness its triumph: he died on the night of its 23rd performance. Yet nearly a century and a half later, Carmen continues to electrify audiences and fill opera houses with undiminished force.
Production and Staging
This production, staged by Alejandro Contreras at the Coliseu de Lisboa, proved both inventive and practical. The use of projected panels enhanced the visual atmosphere without overwhelming the action, while the inclusion of authentic flamenco dancing, rich in Andalusian color and fiery passion, lent striking vitality and cultural authenticity to the performance.
At its core, Carmen is the story of a rebellious woman whose untamed spirit defies social conventions—a figure of freedom, sensuality, and fatal instinct.
Carmen and the Principal Roles
The title role was sung and embodied by mezzo-soprano Maria Luísa Corbacho, whose voice possesses a rich timbral palette, expressive warmth, and dramatic intensity. Her Carmen was convincing both vocally and theatrically, with a commanding stage presence. The iconic arias—“L’amour est un oiseau rebelle” and the Habanera—were delivered with seductive charm and genuine emotional engagement, immediately captivating the audience.
Acoustics and Amplification
It must be noted that since the renovation of the Coliseu in 1993, the venue requires sound amplification. In earlier decades, voices could project naturally above the orchestra through sheer vocal technique. Today, the listening experience is mediated through speakers, and any evaluation must therefore consider the quality of sound reinforcement.
Ideally, amplification should create the illusion of natural acoustics—a goal not always fully achieved, though generally handled with care on this occasion.
Don José and Supporting Roles
Tenor José Eduardo Sandoval, as Don José, brought a spinto voice of rounded tone with hints of dramatic heft. His portrayal revealed emotional depth, particularly in the duet with Micaëla, sung by lyric soprano Maria Ruiz, whose voice conveyed innocence and tenderness as she delivers news from Don José’s mother.
In this demanding duet, characterized by a high tessitura (often better suited to a lighter tenor), Sandoval approached the upper notes in falsetto—yet with musical sensitivity and stylistic correctness. His rendition of “La fleur que tu m’avais jetée” was especially notable: passionate, warmly colored, and deeply expressive.
This moment inevitably recalled a legendary Carmen performance at the same venue in the 1960s, when Franco Corelli, one of the greatest tenors of all time, astonished the audience by singing the aria in Italian—an unforgettable episode in Lisbon’s operatic memory.
Orchestra and Direction
Maestro Ariza led the Histerian Symphony Orchestra with control and expressive sensitivity, carefully balancing orchestral weight to avoid overwhelming the singers—a crucial consideration in an amplified acoustic environment.
The remaining cast was consistently strong. Escamillo (baritone) delivered the famous Toreador Song with flair, vocal solidity, and masculine vigor. Frasquita and Zuniga also stood out as both capable singers and effective actors, contributing to the dramatic cohesion of the production.
Structure of the Opera
Carmen unfolds in four acts:
Act I – A bustling square in Seville (circa 1829). Micaëla searches for Don José. Carmen appears, igniting fascination and chaos.
Act II – Lillas Pastia’s tavern, a smugglers’ refuge. Escamillo enters triumphantly; Don José becomes increasingly entangled in Carmen’s world.
Act III – A mountain hideout. Carmen’s love cools; her attraction to Escamillo grows. Micaëla begs Don José to return to his dying mother.
Act IV – Outside the bullring. Carmen declares her love for Escamillo. Don José confronts her, consumed by jealousy. The opera ends in tragedy: Carmen is killed.
Conclusion
This production of Carmen was a true celebration of opera, uniting dramatic intensity, vocal quality, and visual flair. The audience responded with enthusiastic applause, expressing a clear desire for more evenings of this caliber.
One can only hope that such performances become more frequent—thanks to the commitment and vision of Grupo Chiado, whose contribution to Lisbon’s operatic life deserves recognition.
@Coliseudosrecreios @grupochiado
Thanks to: Grupo Chiado, Sandra Godinho