Feeling alienated? Stab Carmen.
I know this is oooold news, but it’s just now that I’ve made time to think about Tcherniakov’s Aix Carmen (2017) and it’s holiday downtime.
Baranello’s (of Likely Impossibities) review is very evocative for those who have not seen this production for themselves. I feel both intrigued and a bit disoriented. It sounds like a cool idea for a production but somehow also rather fanciful. Usually I bitch about productions being underdeveloped but in this case it might be too well thought out, to the point where it leaves opera as musical entertainment in the dust and turns into a film that uses a very popular opera libretto as pop psychology prop (narrowly before MeToo).
It’s an unusual feeling, maybe somewhat similar to the recent Martina Franca extended-play Rinaldo (just found out Armida = Cher1). I want the action on stage to keep my attention focused by being novel and interesting but I also want to retain the feeling that I’m at the opera rather than in a play in play in play.
If it were a film I think I’d really enjoy it2 – I’m already in the frame of mind where the opera is called Don Jose, Incel extraordinaire.
The clinic’s staff is too excited to notice that the treatment didn’t work: The man they think they have cured is still locked in his own head, seemingly unable even to hear their praise, still believing he killed Carmen. (from the above mentioned review)
Don’t directors always like the trope of the self satisfied psychiatric staff? Heh.
Posted on August 22, 2018, in acting in opera, french opera, mezzos & contraltos, random thoughts, sopranos and tagged aix en provence, bizet, carmen, dmitri tcherniakov. Bookmark the permalink. 7 Comments.