Opera review by Julia Pattison: Carmen at the Grand Opera House in York

Opera: Carmen
By The Newsroom
Published 2nd Mar 2022, 07:55 BST
Hot on the heels of presenting Madama Butterfly the night before, this production of Carmen was superb, full of colour and passion, in a setting evoking the stunning architecture of Seville and its main square with Roman and Moorish influences. Photo submittedHot on the heels of presenting Madama Butterfly the night before, this production of Carmen was superb, full of colour and passion, in a setting evoking the stunning architecture of Seville and its main square with Roman and Moorish influences. Photo submitted
Hot on the heels of presenting Madama Butterfly the night before, this production of Carmen was superb, full of colour and passion, in a setting evoking the stunning architecture of Seville and its main square with Roman and Moorish influences. Photo submitted

Venue: Grand Opera House, York

Review by: Julia Pattison

Bizet’s Carmen is one of the most popular operas ever written. Judging from the packed theatre, it would seem that it’s as popular as ever.

“It is with great pride that Senbla will be promoting a tour of Ellen Kent’s operas to celebrate both Ellen’s and my passion for opera”, says the MD of Senbla Ltd Ollie Rosen Blatt in the Souvenir programme.

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Let’s join in those celebrations and hope that Ellen’s operas continue to include York in the fabulous UK Tours.

Hot on the heels of presenting Madama Butterfly the night before, this production of Carmen was superb, full of colour and passion, in a setting evoking the stunning architecture of Seville and its main square with Roman and Moorish influences.

Maria Davydova (mezzo-soprano) played the scheming Carmen to perfection – the tortured Don Jose, Corporal of Dragoons (Sorin Lupu) stood no chance against her feminine wiles.

Maria oozed Carmen’s vibrant low sensuality in her singing.

Sorin didn’t quite fit the image I had in mind of Don Jose, but his rich Tenor voice was superb, and he was magnificently real in all he sang.

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When Bizet’s two protoganists sang together it sent shivers down the spine – sublime singing. Elena Dee (soprano) playing Micaela, a pure young woman of considerable character, was a delight to listen to. Such grace, and elegance too, she was perfect for the part.

It was good to see Racovita Petru return to York, playing the role of arrogant show-stopper Toreador Escamillo with great zeal and gusto.

Carmen has more popular numbers than any opera and the Toreador Song went down a storm with the audience, with many singing along, probably relishing mask restrictions being lifted!

If you feel opera isn’t for you because it’s too “highbrow” then this is the production that will soon put you at your ease.

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Sung in French, with English surtitles, clearly, but discreetly placed above the stage, you are able to enjoy the full magnificence of the music without having to struggle to understand the story line.

The full orchestra conducted by Vasyl Vasylenko was a joy to experience.

The Jose of the glorious Flower Song was the same man whose voice rose in anguish at having killed the Carmen he adored.

Carmen, totally honest to the end, despite the inevitable outcome, is probably opera’s first and greatest feminine heroine, making her own choices, and having nothing imposed on her.