by usia review
Bizet’s Carmen Triumphs at Opera Fest Lisbon
“There is no more selfish passion than a luxurious life.”
— Marquis de Sade
Georges Bizet’s Carmen, presented at Opera Fest Lisbon, once again proved why it remains one of the most popular and enduring operas of all time. Based on Prosper Mérimée’s novella (1845), the opera was adapted for the stage by librettists Henri Meilhac and Ludovic Halévy, who introduced significant changes to the original narrative. Mérimée, born in Paris in 1803, was also the author of La Vénus d’Ille and Colomba, contributing decisively to new literary currents of the 19th century.
Premiered in 1875 at the Opéra-Comique in Paris, Carmen initially scandalized audiences with its realism, sensuality, and moral ambiguity. Ironically, those same elements later secured its triumph: thousands of performances worldwide have made Carmen one of the most frequently staged operas in history. It is curious to note that Maria Callas, arguably the greatest singer of the 20th century, recorded the opera but never performed it on stage.
The Drama and the Music
The opera opens with some of the most famous arias in the repertoire: the Habanera (“L’amour est un oiseau rebelle”), “Près des remparts de Séville”, the Toreador’s aria (“Votre toast, je peux vous le rendre”), and Don José’s “La fleur que tu m’avais jetée”, followed by the sublime duet between Don José and Micaëla.
Act I takes place in a square in Seville near a military guardhouse and a cigarette factory. Micaëla (soprano Alexandra Bernardo), in love with the soldier Don José (tenors Rodrigo Porras Garulo and Leonel Pinheiro, alternating performances), brings news from his mother. Their duet stands as one of the opera’s most touching moments. Carmen then appears, provocatively throwing a flower to Don José. Ordered arrested by Zuniga (baritone Ricardo Rebelo Silva), Carmen escapes with Don José’s help—an act that leads to his own imprisonment.
Act II unfolds at Lillas Pastia’s tavern, a gathering place for smugglers. Carmen arrives with Frasquita and Mercedes, rejecting all male advances as she awaits Don José’s release after two months in prison. The bullfighter Escamillo (baritone Christian Luján) makes a triumphant entrance, greeted by the celebrated Toreador’s aria. The act ends with Carmen and Don José reunited—and Don José deserting the army for her.
Act III takes place in the mountains, where smugglers prepare their contraband. Carmen reads the cards, which foretell her death. Tired of Don José’s jealousy, she turns her affection toward Escamillo, leading to a confrontation between the two men. Micaëla appears, announcing that Don José’s mother is dying and urging him to return home. He leaves with her, vowing to come back.
Act IV, set before the bullring, shows the jubilant crowd celebrating Escamillo’s victory. Carmen appears at his side, radiant and defiant. Warned that Don José is nearby, she refuses to flee. When Don José begs her to return, she answers with fatal resolve: “Kill me or leave me.” He stabs her before the horrified crowd.
Performances
The greatest ovation of the evening, in the enchanting garden of the Museu Nacional de Arte Antiga, was undoubtedly reserved for mezzo-soprano Kátia Moreso. Endowed with a warm, round timbre and strong stage presence, she offered a compelling portrayal of Carmen as a psychologically complex figure—narcissistic, manipulative, and emotionally destructive. Her interpretation emphasized Carmen’s capacity to feed on the suffering of others, quickly tiring of her lovers and rejecting the very notion of lasting love.
Among the tenors, Rodrigo Porras Garulo, of Mexican origin, once again impressed with his lyric-spinto voice, previously admired in Tosca at Opera Fest. His final scene was sung with intense dramatic power. Alternating with him, Portuguese tenor Leonel Pinheiro, currently enjoying a solid international career—particularly in the UK—displayed even greater dramatic urgency and expressive force. While vocally impressive, further refinement in resonance placement and diaphragmatic support would enhance his already strong technique.
Micaëla was sensitively interpreted by Alexandra Bernardo, whose lyric soprano revealed a beautiful, sweet timbre and refined musicality. Having heard her previously without amplification, notably at the Palácio da Ajuda, her natural vocal quality is undeniable. She is also a first-prize winner of a Rotary vocal competition.
Special mention goes to baritone Christian Luján as Escamillo. Colombian by birth but long resident in Portugal, he has become a familiar and admired presence on Portuguese stages. His dramatic voice and solid vocal schooling were once again confirmed, recalling his excellent performance in La Bohème at Teatro Nacional de São Carlos. Baritone Ricardo Rebelo Silva also stood out as Zuniga, with a fine, well-projected voice. All secondary roles were competently and musically fulfilled.
Musical and Scenic Direction
The orchestra, reduced in size, nevertheless sounded cohesive and effective under the direction of Maestro Jan Wierzba, who maintained rhythmic vitality and balance. The scenic direction by Tonan Quito and scenography by Pedro Azevedo were well adapted to the outdoor setting and the dramatic flow of the opera.
Final Reflections
Opera Fest Lisbon, now in its fourth year, represents a true victory for opera lovers. Under the visionary leadership of its founder and artistic director Catarina Molder, already recognized at the European level, the festival continues to grow in ambition and artistic quality. Following Carmen, the program rightly celebrates Puccini with his small yet powerful masterpiece Suor Angelica, and will also present The Magic Flute sung in Portuguese.
An initiative of this caliber deserves the strongest support—for it keeps opera alive, accessible, and vibrant in Lisbon’s cultural life.
Thanks to: Catarina Molder