2015-03-28 Carmen (G. Bizet), Teatro alla Scala (Milano)
Carmen = Elīna Garanča
Don José = José Cura
Escamillo = Vito Priante
Micaëla = Elena Mosuc
Zuniga = Gabriele Sagona
Moralès = Alessandro Luongo
Dancairo = Michal Partyka
Remendado = Fabrizio Paesano
Frasquita = Sofia Mchedlishvili
Mercédès = Hanna Hipp
Lillas Pastia = Rémi Boissy
Un guide = Carmine Maringola
Massimo Zanetti, conductor
Staging - Emma Dante
Sets - Richard Peduzzi
Costumes - Emma Dante
Lights - Dominique Bruguière
Choreographic movements - Manuela Lo Sicco
The staging and regie was in a way showing us a real Sevilla with a lot of reality but then Emma Dante had to add more to the stage. The adding to the opera and taking away some of the reality to put supernaturality into the stage, it was a hit and miss. Choreographic movements by Manuela Lo Sicco did not help. In the whole it was a miss, it was distraction and it was not needed. Lovely as some of the ideas was, especially with Micaela, it was superfluous and most fatally it threatened to make the opera less.
The orchestra was good but even the maestro Massimo Zanetti could not prevent it to sound shrill at times. The singers was wonderful, their acting superb and so it was a Carmen to enjoy. I had what I would usually call the misfortune to have a tall man sitting in front of me. This time it was a blessing I could miss some of the most unfortuned addition and enjoy the opera. So long I could view the principal singers I was in for a treat.
Emma Dante did find ways to put children everywhere and some extra dancing movements here and there. That could have been lovely but it was destroying the reality of Sevilla, the reality of Carmen and Don Jose. And I wanted it to be real. Was it really necessary to make so many references to the Catholic church? Not in my mind it was. It was a nice touch to dress Micaela in black only to show her in white by just not holding up the black fabric and voila Micaela is in white during the duet with Jose. Church boys giving her a white veil and now she looks like a bride. But no kiss, not from Micaela to Jose or from Jose to Micaela. So it is no surprise that Micaela is followed by a priest to the smugglers nest. The whole black to white changes again and now Micael has graying hair, why, to resemble the mother of Jose and they cleverly make it seem she i laying in bed being his mother praying for him. Two nice touches that worked but the rest was just nothing to go bravo about.
Elina Garanca and Jose Cura was wonderful together and alone. Elena Mosuc was an amazing Micaela and the baritone Escamillo was not bad. The singers saved the day!! Jose Cura was in top form and I enjoyed Elina Garanca.
OD Travel & Photos
Original blog post
For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com
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