JADAR

★★★★☆

Ellen Kent’s adaptation of Georges Bizet’s Carmen is a remarkable display of what is possible during even the hardest of times. Not only did Kent manage to bring the Ukrainian Opera & Ballet Theatre Kyiv to Britain, but she also orchestrated a perfect duet between Natalia Medvedeva as Carmen and Davit Sumbadze as Don José.

Having seen an alternative version of Carmen previously, with the concluding scenes and stage presence more dramatic, I could not think of a better classic Carmen representation than Natalia. Not only is she the centre of the narrative, but she also takes centre-stage in this production.

Her appearance in Act I has an extraordinary effect on the audience, radiating an energy and confidence that permeate the entire performance. Natalia’s strong vocals and impeccable mezzo-soprano are seamlessly complemented by her acting skills and facial impressions.

In this rendition, Carmen is a woman who is aware of her beauty and success among men. She enjoys being desired and playing with hearts. From the way Natalia moves to the emotions depicted on her face, this version of Carmen embodies perfection.

Carmen is a woman who accepts all or nothing. Her mood switches from love to hate in the blink of an eye, as seen when Don Jose attempts to return to his duties immediately after escaping from jail, responding to the call from the barracks. This scene, both humorous and passionate, gives you a flavour of a deliciously wicked woman who effortlessly corrupts virtuous men.

A young corporal Don Jose betrays his moral principles and relationship with the lovely Michaela (Alyona Kistenova) as he cannot resist the power of Carmen. Davit may seem mature for this role but the magnificence of his vocal duet with Natalia transcends any discrepancies between the characters and performers.

While the main characters shine, some members of the ensemble appear less engaged. The performance starts with a vibrant pace and drive, translating the passion of Spain and the allure of beautiful women. However, as the plot evolves, the ensemble seems to lose some of its vigor, with a palpable decline in energy by the opera’s finale.

Notwithstanding, it is worth noting the great performance of Valeriu Cojocaru in his portrayal of a drunken Lieutenant Zuniga and the harmonous collaboration of Anastasiia Blokha’s soprano as Frasquita and Marharyta Bochachova’s mezzo-soprano as Mercedes – portraying the two companions of Carmen. While their voices complement Natalia’s, they capture audience’s attention in the ‘Melons! coupons!’ number in Act III, where all three ladies look into their fate.

The finale of the production is somewhat disappointing. While the emotions onstage constantly evolve, creating tension, Act IV falls short of expectations. Not only do the ensemble lacks emotions, but the death of Carmen – the culmination of jealousy and despair – is done without any passion.

Additionally, the scene where the crowd and Toreador Escamillo (Iurie Gisca) exit the arena, while Don Jose confesses to killing Carmen, is omitted. Thus, the opera ends abruptly.

A touching moment arises after the applause and bows when the Ukrainian national anthem is performed. This is the moment that reveals the genuine emotions of the entire cast.

The production is further enriched by the impressive orchestral performance conducted by Vasyl Vasylenko, who commenced his training as a conductor at the Bolshoi Theatre in Moscow.

Ellen Kent’s presentation of Bizet’s Carmen, featuring the internationally renowned Ukrainian Opera and Ballet cast, offers a delightful taste of classical opera. With magnificent vocals, familiar tunes, and superb music, it successfully captures the essence of the timeless masterpiece.

Ellen Kent was at Opera House Manchester for three days in total, beginning with La Traviata (Verdi), followed by Carmen (Bizet), and ending with Madama Butterfly (Puccini). Ellen Kent tours the UK with this selection of shows until May 29. Check out our review of La Traviata.