Opera Hong Kong’s Carmen production wows audience with irresistible music and gutsy performances
Timeless story about passion and freedom is brought to life by world-class artists, including Armenian opera singer Varduhi Abrahamyan whose huge voice matches her thrilling stage presence
Opera Hong Kong’s third production of Carmen in eight years enjoyed a sold-out run that confirmed the huge popularity of Georges Bizet’s masterpiece with local audiences. It featured stunning performances from world-class singers, who brought out opera’s raw, dark, and primal side.
The company’s latest offering has a distinctly French flavour – director Jean-Romain Vesperini and his design team are French, as is the conductor, Yves Abel (leading a solid performance by the Hong Kong Sinfonietta).
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Visually, it works well. A massive, simple yet ingenious set by Bruno de Lavenère rotates to serve as everything from Lillas Pastia’s bar to the entrance to a bull ring. It’s also particularly effective at evoking the mountains where the smugglers’ camp is located.
Thibaut Welchlin’s restrained costumes give a 1930s feel (more Spanish Civil War than gypsy extravaganza), and Carmen, Frasquita and Mercedes strut their stuff in silk and lace slips created by the director’s sister, luxury lingerie designer Vannina Vesperini.
The production is well-paced, intelligent, and dramatic. The one flaw was Vesperini’s introduction of characters (portrayed by the Song and Dance Troupe of Fujian Opera) wearing heavily symbolic costumes including bull’s heads and a ballerina in a tutu with a skull mask. These mimes appear at the beginning and, more intrusively, at the end.
Act 4 is further marred by having Micaëla stumble on in a dazed state and Escamillo take a bite out of her throat – Dracula fashion – which proves crass and pointless. This kind of concept may have been cutting edge in the 1960s, but today it looks ludicrous.