Carmen from the phone booth


    <div class="td-post-featured-image"><figure><img width="696" height="423" class="entry-thumb" src="" srcset=" 696w, 300w, 1024w, 768w, 1536w, 1068w, 692w, 1900w" sizes="(max-width: 696px) 100vw, 696px" alt="Vera-Lotte Boecker, Anita Rachvelishvili, Slavka Zamecnikova (back) and Piotr Beczala" title="Carmen_D850085_RACHVELISHVILI_BOECKER_ZAMECNIKOVA_BECZALA_VO"/><figcaption class="wp-caption-text"><span class="image_caption_text">Vera-Lotte Boecker, Anita Rachvelishvili, Slavka Zamecnikova (back) and Piotr Beczala</span><span class="copyright">  © Vienna State Opera / Michael Pöhn</span></figcaption></figure></div>
    <!-- Entweder gibt es keine banner, oder die banner sind deaktiviert oder hier nicht entsprechend eingestellt! --><p>Bogdan Roscic came through surprisingly well with his concept of exchanging old productions from the Vienna State Opera for old productions that he buys.

Other directors would have been scolded for it. So now there is a new “Carmen” by the controversial Catalan Calixto Bieito (the production is, by the way, already 22 years old!) Instead of the classic interpretation by Franco Zeffirelli.

 The  differences could hardly go deeper.

No flounces and no castanets

No more picturesque Seville, no flounces, no castanets, no “milieu” between taverns, smugglers in the mountains and the glamorous buoyancy around a bullfight. Also no lascivious eroticism that Carmen stands for, just brutal seduction, misery, sex and violence clearly played out. Plus a few set pieces on an empty stage.

Carmen appears from a telephone booth, a few cars are sufficient as decoration, the choir is not conducted realistically, but in a choreographically stylized manner. Yes, and Micaela, who is not at all shy here, would like to take a selfie with her Don José. So that you also know that you are “today”. Another world? Certainly. ©

 The  way you like to see things on a director’s level these days.

You seldom saw such a “brutal” Carmen

Is it a different piece too? Seldom has one seen such a “brutal” Carmen as the recovered Georgian Anita Rachvelishvili, who overruns everything with the strength of her body, which she uses uninhibitedly, and her huge, glowing mezzo. ©

 The  sophistication and elegance that this work was said to be (which is even one of its strengths) are totally lost here.

But at least instead of this you get an impressively strong performance, supported by Andrés Orozco-Estrada, who delivers a stormy, elastic direction and keeps the difficult piece perfectly in hand.


 The  cast of the two gentlemen with Piotr Beczala (stepping in for the sick Charles Castronovo) was also very good, as a regrettable one, because Don José and Erwin Schrott had no chance in the face of such a woman, but who was not allowed to give the usual, elegant bullfighter Escamillo, but rather a Strizzi . ©

 The re are notoriously difficult roles that are fulfilled here at a high level.

In the end, the plant won. This is so strong that it survives some alternative looks you can throw at it. And its effect is also coming across the screens because the Vienna State Opera bravely continues its premiere projects even in times of Corona – on television and via stream.


 The  production will be broadcast on Radio Ö1 on February 27th from 7.30 p.m.


p style=”text-align: right;”>From Renate Wagner

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Carmen phone booth


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