Musically, the production is excellent. Béatrice Uria-Monzon is a smart…Roberto Alagna is in excellent voice, too, offering honeyed tones that never disguise his passion or his potential for violence…Erwin Schrott is an impressively self-confident Escamillo…The other roles are well handled-and Marc Piollet and the orchestra provide a high-contrast palette, with plenty of detail and vitality. Sound is first-rate, as is clarity of the picture; and the patient and luxurious camerawork avoids the hyperactivity that mars so many opera videos these days. All in all, then, a very good Carmen… (Fanfare)
Behind the near-mythical figure of the emancipated woman, the dazzling spectacle of the group tableau and vibrant seduction of the Spain of dreams, all its authenticity and brilliance have been restored to the world's most performed opera in the opera house where it was first performed in 1875. A veritable back to the origins for the masterpiece by Georges Bizet, who died at the age of thirty six, only a few weeks after finishing his controversial work, the tremendous success of which he was ever to know. By presenting it here in a brand-new version with instruments of the period, in an endeavour to rekindle the original musical and theatrical flame, Sir John Eliot Gardiner and Adrian Noble have reconstructed the unusual movement of the chorus and difficult dialogue between characters as a human, carnal tragedy.
This movie version of Bizet's popular opera Carmen was filmed on location, conveying a kind of atmosphere, a sense of space, movement, and presence that's hard to achieve in a staged performance. It takes the action out of doors for many scenes, with the opening titles superimposed on the bloody conclusion of a bullfight. Elsewhere the changing of the guard, the crowd scenes, the dance number that opens Act 2, and the panoramic scenery of the smugglers' mountain hideout all benefit from the freedom granted by movie cameras.