BY SPENCER DARBY
Opera Australia
Carmen by Bizet
Sydney Opera House, Joan Sutherland Theatre, 20 March 2014
Bizet’s Carmen is well-known territory for Opera Australia, and for good reason. The four-act verismoopera tells the story of a flighty gypsy and her untameable lifestyle, and stands as one of the most popular productions in the repertory.
The well-known overture to this equally famous opera began at a thrilling tempo, led decisively by Benjamin Northey. The Australian Opera and Ballet Orchestra was in glittering form and set the mood nicely as the curtain opened to reveal a rustic, earthen-toned set. The townsfolk of Seville buzzed and gossiped spiritedly as they wheeled orange-carts and mingled around a glamorous tree, which created a strong centrepiece for the production’s town square.
Milijana Nikolic needed no warm-up, and from her very first entry as Carmen she asserted herself as a formidable and sensual force. Her molten mezzo-soprano voice soared with ease and gave her great scope to focus on the fickle, lusty aspects of Carmen’s personality. Instead of merely presenting her leading character as an enticing seductress, Milijana tapped into the more dangerous depths of Carmen’s capacity to be erratic, impulsive and manipulative.
Bradley Daley sang Don Jose with pleasing clarity and a particularly impressive top register. At times, he was unable to match the theatrical intensity of Milijana’s Carmen, but still managed to effectively portray Don Jose’s frustratingly hopeless descent into a state of jealousy-induced madness.
Shane Lowrencev acted a boisterous but sensitive Escamillo – something which is rarely seen. His initial entry in the second act was accompanied by some of the best work from the chorus, who were a lively and gritty pub-crowd. Lowrencev had the magnetic appeal of the archetypal alpha male. He glided around the stage, beamed with confidence, and made the swooning chorus and audience alike smile right back at him.
Natalie Aroyan’s portrayal of Micaela deserves more than just an honourable mention. She handled the third act’s difficult aria with style and grace and was entirely compelling as the heart-breaking, loveable girl next door, who comes so close to redeeming the doomed Jose.
The production culminated in an alluring fourth act. The handsome parade, sparkling matadors, streamers and confetti created a strong polarity between the heady crowd mentality and the ever-darkening struggle between Carmen and Don Jose, lurking ominously behind the buoyant, cheering throng.
Opera Australia’s production was an incredible night of theatre showcasing a stellar cast and excellent musical direction.
Image supplied by Opera Australia. Credit: Branco Gaica.
Spencer Darby is currently studying a Masters of Research (Performance) at the Sydney Conservatorium of Music. He is a regularly gigging tenor with choral and operatic groups (Australian Brandenburg Orchestra, State Opera South Australia, Co-Opera). Spencer began his musical studies at the Sydney Conservatorium High School and earned a Bachelor of Music prior to his post-graduate studies. His musical interests lie particularly in operatic performance (especially works composed in the 20th Century), but also has a passion for early and classical music.
