Sergej Khomov (Don José), Ezgi Kutlu (Carmen) | (c) Hans Jörg Michel
Georges Bizet
Opernhaus Düsseldorf
Tuesday, 23. December 2014
19:30 - 22:15 hours
/ Revival

Duration: about 2¾ hours, one interval
16,80 - 75,10 €
For all from 14 upwards
For all from 14 upwards

Duration: about 2¾ hours, one interval
Carmen lives her life independently of all social inhibitions and considerations. In her famous Habañera she proclaims freedom in love and also total freedom from any sort of moral obligation. That ends as her doom, because Sergeant Don José, who has fallen for her charms, is not prepared to have the same carefree attitude to love and relationships. In his jealous fury he kills the beloved object.

At first the public at the world première was shocked at the free-thinking and sexually uninhibited attitude of the title-figure and gave it a reserved reception, but after that the opera of Georges Bizet (1818-1875) after Prosper Mérimée established itself firmly in the repertoire of every opera-house and soon developed into one of the most often performed operas in the world. Its thousandth performance in Paris took place as soon as 1905, and the enigmatic figure of Carmen is still today often presented to us as the woman of every man’s dreams. When it was published in 1845, Prosper Mérimée’s short story “Carmen” introduced a new sort of woman to the cultivated metropolis Paris. As a gipsy with her outlandish and untamed glamour she was easily identified as an object of desire pure and simple. At the same time she claimed her right to do as she was inclined to an extent which in the 19th century men regarded as exclusively their privilege. That was what society found in a way enticing and in another sense evil, leading to the tumultuous objections to the first performance. In Bizet’s opera Carmen is, on stage, free to give full vent to this approach to life; what she feels about love she lets us know from the start with the Habañera: total freedom for her desires, total freedom also from moral inhibitions. That is Carmen’s final downfall: she demands an insouciant approach to love and relationships with which Don José cannot cope – desperate with jealousy when she opens amorous contact with the bullfighter Escamillo, he kills the object of his love.

In settings by Rifail Ajdarpasic recalling the visual world of the Spanish painter Francisco Goya, director Carlos Wagner’s acclaimed staging at the Opéra National de Lorraine highlighted with poetically sombre images how Carmen insists on freedom and how her fascination is too much for the sergeant Don José to handle. His staging delves into a Spain full of the dark images of Francisco de Goya. In riveting scenes in which nightmarish reality and a dreamworld join hands, he tells us Carmen’s fateful story. The specialist magazine Classique News wrote of the great finale, “The last scene is unforgettable and is proof of a great stage-director’s flaming inventiveness, between reality and longing, poetry and expressionism, shadow and light”.
Opéra comique in four acts
Libretto by Henri Meilhac and Ludovic Halévy after Prosper Mérimée

In co-operation with Opéra national de Lorraine
In French with German surtitles

Musikalische Leitung Aziz Shokhakimov
Inszenierung Carlos Wagner
Bühne Rifail Ajdarpasic
Kostüme Patrick Dutertre
Licht Fabrice Kebour
Choreographie Ana Garcia
Chorleitung Gerhard Michalski
Leitung Kinderchor Justine Wanat, Fabio Mancini
Don José Zoran Todorovich
Escamillo Dmitry Lavrov
Remendado Luis Fernando Piedra
Dancaïro Daniel Djambazian
Zuniga Lukasz Konieczny
Moralès Bogdan Baciu
Carmen Ramona Zaharia
Micaëla Anke Krabbe
Frasquita Luiza Fatyol
Mercédès Annika Kaschenz
Tänzerin Michèle Lama, Sara Blasco Gutiérrez, Anna Maldonado, Irina Castillo
Tänzer Joeri Burger, Antonio Olmedo Gil, Jonas Tilly, Alexeider Abad Gonzales, Jonas Tilly
Chor Chor der Deutschen Oper am Rhein
Kinderchor Düsseldorfer Mädchen- und Jungenchor
Orchester Düsseldorfer Symphoniker


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