Poster of the première in 1875

In prehistoric times, when ratings alone were not everything and cultural-loving audiences were still taken into account, television-watching opera lovers also came into their own.

Illustration of Bizet’s opera Carmen, published in Journal Amusant, 1875. The image, held by the Bibliothèque nationale de France, is marked “domaine public”

I never used to like opera. I loved violin concerts and piano solo works, very early on I learned to appreciate chamber music and when I got a bit older, songs also came my way. But opera? The mere idea that an old, fat lady would try to portray a young girl dying of TB, gave me the giggles. Talk about prejudice!

DVD’S

Until one memorable evening in 1982, when I turned on the TV to watch Carmen. I only did it to please my then boyfriend and then it happened! From that night on, the world was forever changed and my life gained a great love.

For years I cherished this Carmen, although I only had a badly copied but very expensive mc (does anyone remember what it was?). It was later released on various ‘pirate labels’ and finally on DVD (Arthaus Musik 109096).

ANNA CATERINA ANTONACCI, KAUFMANN AND PAPPANO

Something similar happened to me in 2011, when the BBC brightened up a dull Christmas afternoon with an opera transmission from London’s Covent Garden. Orchestrally, this Carmen is slightly less spectacular than Kleiber’s. Antonio Pappano is an impassioned conductor and whips up the Royal Opera House orchestra to unprecedented heights, but this time my knocked-out feeling was caused by the unusually exciting direction and the phenomenal lead performers.

Francesca Zambello does not shy away from a lot of sentiment and provides a blatantly realistic spectacle, without updates and concepts. The action actually takes place in Seville and the eye is treated to a beautiful choreography and stunning costumes.

Anna Caterina Antonacci is a very spunky and sexy Carmen, very defiant but also confident and proud. Her gorgeous black eyes spit fire, and her beautiful appearance and great acting talent do not hide the fact that she can also sing: her powerful voice has a range of emotions. All in all: a real tragédienne. A real Carmen.

Ildebrando D’Arcangelo is a fantastic, virile Escamillo. His entrance on the big black horse is truly spectacular.

Jonas Kaufmann is easily the best José I have ever experienced in my life. His spinto tenor sounds phenomenal in all registers, nowhere exaggerated and lyrical and whispery where necessary. He cannot be outdone as an actor either, and his more-than-attractive looks we’ll take as a bonus. You surely know by now: you must have this Carmen! (Decca 0743312)

AND WITH RICHARDS AND GARDINER

Carmen by Bizet, conducted by Sir John Eliot Gardiner Gardiner… who would have thought it possible? And yet it makes more sense than you think. Because with the 2009 performance, Gardiner brought the opera back to the site of its world premiere and the orchestra played the work with the instruments of that time.

Adrian Noble’s (brilliant!) direction is mainly focused on the characters, the staging is highly illustrative and the libretto is closely followed. It is realistic, beautiful and exciting. The unified décor is adapted to each scene, making you feel like you are actually present in all these different locations.

The voices are on the small side, but I don’t think that was a problem at the time at the Opéra Comique in Paris, let alone on DVD.

Andrew Richards is not the best José ever, but his interpretation of the role is phenomenal. He begins as a nice and very cuddly stranger and ends up as a kind of Jesus, with delusion in his eyes.

Unfortunately, Nicolas Cavallier (Escamillo) does not have enough sex appeal for a macho toreador, but he compensates a lot with his beautiful singing.

Anna Caterina Antonacci is one of the best Carmens these days. Beautiful, sexy, challenging and nowhere vulgar. Her deep, warm voice has all the colours of the rainbow.Gardiner clearly feels inspired. His tempi are dizzying at times.

Wiecej Tutaj