Carmen, English National Opera

In its 150th anniversary year, Bizet’s Carmen returns to the London Coliseum in English National Opera’s revival of Calixto Bieito’s bold and brutal 1970s-set production. Stripped of the romanticism of 19th-century Seville, this version dives into the shadows of Franco-era Spain, swapping dusty squares for derelict roadsides and replacing gypsy mystique with grit, violence and political undertones.

Bieito’s staging is deliberately harsh. Alfons Flores’s minimal set relies heavily on props, most notably a parade of vintage cars that form the backdrop to Carmen’s smuggling world. The overall feel is more back-alley garage than grand opera, and that works, mostly. The power dynamics, especially around sex, control and masculinity, are raw and disturbingly relevant. Jamie Manton’s revival direction keeps these themes sharp, and with the addition of intimacy director Haruka Kuroda, the line between tension and exploitation is navigated more thoughtfully than in earlier revivals.

Musically, things get off to a thrilling start. Conductor Clelia Cafiero opens with a fiery overture, fast-paced, gleaming with brass, and alive with energy. Yet, after this impressive beginning, the momentum starts to slip. The orchestra and singers occasionally lose alignment, and the chorus, though strong in volume, lacks nuance.

Niamh O’Sullivan, making her role debut as Carmen, brings sass and swagger in spades. Her voice has richness, especially in the lower register, though the top can sound forced. Her portrayal is less seductive and more defiant, but she often leans too heavily on physicality, constantly draped across car bonnets, rather than letting the character’s charisma shine through her singing. John Findon’s Don José is suitably volatile, with some tender moments, particularly in “The Flower Song”, but struggles with consistency. Crucially, there’s little real chemistry between the leads, and that missing spark dulls the impact of their doomed passion.

Ava Dodd is a standout as Micaëla, delivering a gutsy performance that defies the usual sweetness of the role. She injects steel and modernity into the character, culminating in a surprisingly charged confrontation. Cory McGee’s Escamillo is confident but vocally underpowered, while supporting singers like Harriet Eyley and Siân Griffiths bring charm and energy.

This Carmen still shocks, and its themes remain painfully timely. But it’s a production that now feels more noise than heat, provocative, yes, but missing the emotional fire that makes this opera unforgettable.

Image credit: Ellie Kurttz