Bizet’s signature work returns to the stage in this new adaptation by the English National Ballet, currently playing at London’s Sadler’s Wells until the start of April. Guillermo Nazara shares his views on the show, to let us know if this retelling of the timeless romance between the gypsy and the toreador was actually a bull in a china shop.
L’amour est un oiseau rebelle… No other work encapsulates, with such visceral perfection, the myth of romantic love and obsession as the fiery lore that Mérimée carved on paper in his pioneering novella, and which later Bizet immortalized through the melodic seduction of his lavish score. The story of Carmen, the cunning gypsy who can have any heart but the only one she really wants, has become a compulsion beyond the scene for viewers and creatives alike – fascinated by the allure of the piquant danger that passion brings with it.
An audience fave over the years despite its catastrophic first premiere (legend says that the composer’s death was foreseen in the tarot cards during one performance), the revisions of Bizet’s magnum opus have not been scarce, ranging from modernized interpretations of the plot to other adaptations surpassing the realm of theatre. If something defines the English National Ballet, that is, in fact, their versatility in their offer – mixing tradition with contemporary approaches that can satisfy the likes of both purists and remakers.
Last night’s rendition of the Sevillian antiheroine could have been christened, despite the protagonist’s probable rejection to the term, as the ideal marriage of both concepts. Choreographed by Johan Inger, the Sadler’s Wells pulled the curtain up and the carnation high through this rejuvenated take on the French-Andalusian liaison. Updated as a young affair taking place in a boarding school, the montage epitomizes the zest and ardor of the source material while enhancing its proximity with today’s spectator – providing us with a fast-paced, compelling narrative that boosts the universality of its theme.
Taking Bizet’s compositions as the ballet’s musical driving force, the piece excels at combining the classical Spanish flavour that the author so beautifully epitomized in his creation, with a more present-day stylized arrangements – in some way, mirroring the same effect in Aronofksy’s quintessential film achieved, using Tchaikovsky’s motifs as the basis for its underscore. A treat to the ear and a thrust to the senses, the result works remarkably well – intensifying the furor and mystique of the work and regaling us with a seamless blend of transcendent sounds and vibrant, intoxicating images.
With sets by Curt Allen Wilmer and Leticia Ganan and lighting design by Tom Visser, the visuals are strong despite its black-box simplicity – standing out through their dynamism and ability to evoke. There’s some small flaws to be pointed out, nonetheless – as, though capable of enlarging the psychological undertone of this version, one can’t help but miss some more intricacy in its lighting. In addition, the use of a folded backdrop compromises the illusion of infinity – a problem more or less resolved during Act Two with the use of hazing and reversed spotlights, but which would have been entirely erased with the use of a flat scrim instead.
As for the cast, the praise goes to company as a whole, giving impeccably executed renditions of Inger’s instinctively sensual movements. Among them, the biggest mentions are equally earned by Erik Woolhouse as the Torero, exuding attitude and charisma in both his dance and character portrayal, as well as Minju Kang in the lead role of Carmen, providing the personage with temperament while also endowing her with humanity and compassionate fragility through the refinement of her gestures.
A more than admirable effort in most of its aspects, Carmen has brought its tragic demise to an applaudable success. With only a few tweaks to be made (its conducting, though generally immaculate, still doesn’t project the entire lustiness of the score’s essence), the production is in for a few ovations – mixing great technical know-how with talented determination. One more time, “love is rebellious bird that nobody can tame, and it’s all in vain to call it if it chooses to refuse”. But no love can escape the magnetism of true art.
All pictures credit to Laurent Liotardo.
Carmen plays at London’s Sadler’s Wells until 6 April. Tickets are available on the following link.
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