Name: Carmen
Start: 2024-03-02T00:00:00.000Z
End: 2024-04-13T00:00:00.000Z
Location: Opernhaus

Organization

Conductor

Giuseppe Mentuccia

Stage director

Barrie Kosky

Set designer

Katrin Lea Tag

Costume designer

Choreographer

Otto Pichler

Lighting designer

Joachim Klein

Chorus master

Tilman Michael

Álvaro Corral Matute

Dramaturge

Zsolt Horpácsy

Singer

Mezzo-soprano

Varduhi Abrahamyan

Carmen

Tenor

Abraham Bretón

Don José

Soprano

Kateryna Kasper

Michaela

Nombulelo Yende

Baritone

Nicholas Brownlee

Escamillo

Liviu Holender

Morales

Iain MacNeil

Dancaire

Andrew Kim

Remendado

Elena Villalón

Frasquita

Bass

Erik Van Heyningen

Zuniga

Božidar Smiljanić

Oper Frankfurt

Orchestra

Frankfurter Opern- und Museumsorchester

Others

Choir of the Frankfurt Opera

Revival Director

Alan Barnes

Cecelia Hall

Mercedes

Elizabeth Reiter

Kihwan Sim

Dancer

Johanna Berger

Madeline Ferricks-Rosevear

Richard Oberscheven

Rouven Pabst

Evie Poaros

Robin Rohrmann

Juan Camilo Rojas Arevalo

Marion Plantey

Kinderchor der Oper Frankfurt

Liam James Karai

Leonardo Caimi

Mikołaj Trąbka

franska

Frankfurt am Main

Germany

Opernhaus

Carmen Bizet

Public

þýska

enska

Approved

Seville. Moralès and his soldiers look on as men pester a young woman, Micaëla, who's looking for sergeant Don José. She runs off, saying that she'll come back when José's on duty. The women who work at the cigarette factory are taking a break, surrounded by men. Carmen's got the most admirers. Only one man, José, takes no notice until she throws him a flower. He's confused and fascinated by her, and pleased when he sees Micaëla again. She, an orphan raised by José's mother, gives him a letter, money and, best of all, a kiss from his mother, which makes him forget seductive Carmen for a moment. Carmen's arrested for injuring one of her colleagues in the factory with a knife. Lieutenant Zuniga orders José to take her to prison. She seduces José with her song and promises of love. He helps her escape, and is arrested. Lillas Pastia's tavern. Carmen and her friends Mercédès and Frasquita work with Dancaïro and Remendado, two smugglers. Escamillo, the winner of the bullfight in Granada, appears. He is strongly attracted to Carmen, who's waiting for José, who's due to be released from prison that day, the reason why she refuses to take part in the next smuggling venture. José arrives at last. While Carmen dances for him, the tattoo is heard. The soldier, conscious of his duty, tells Carmen he must go. She's furious with him and doubts his love. Lieutenant Zuniga appears. José, driven by jealousy, attacks his superior. Zuniga's disarmed by the smugglers. There's no turning back now for José, he deserts. INTERVAL In the mountains. The smugglers try and transport their wares to Seville under the cover of darkness. José now lives with them and Carmen, who's fed up with his jealousy. The cards prophesy that both will die. When Escamillo, searching for Carmen, meets José they fight, and Carmen saves Escamillo's life. He invites her and the smugglers to the bullfight in Seville. Micaëla bravely approaches the smugglers to try and persuade José to come home. Only the news that his mother's on her deathbed can move him to follow Micaëla. Outside the bullring. Escamillo enters the arena for the bullfight, cheered by the crowds. Carmen wants to follow him. José blocks her way. José begs Carmen, for the last time, to follow him and start a new life. She refuses, throwing the ring he gave her to the ground. José stabs Carmen.

English

ALLE BESETZUNGEN
Bereits wenige Wochen nach ihrer Premiere 2016 erreichte Barrie Koskys Carmen-Inszenierung Kultstatus und hat seitdem nichts von ihrer unwiderstehlichen Kraft eingebüßt. Sie führt die meistgespielte Repertoireoper der Welt zu den Wurzeln der Opéra comique zurück. In knappen Zwischentexten entwickelt sich die Handlung und steuert einem ungewöhnlichen Schluss entgegen. Auf dem Weg dahin prallen lyrische Momente auf unheimliche Revue- Szenen. Durch unerwartete Brüche zwischen dem bissigen Ton der Opéra bouffe und der Tragödie sprengt Koskys Deutung die gängigen Carmen-Klischees. Seine Inszenierung treibt den Konflikt zwischen den Lebensmodellen von Carmen und Don José auf die Spitze: Sie bringt ihn, der eigene Grenzen in der Liebe zu überschreiten versucht, um den Verstand und wirft Don José aus der Lebensbahn. Seine Versuche, Carmen in die ihm bekannte Ordnung zu locken, sind zum Scheitern verurteilt. Bizets Musik und die Interpretation von Barrie Kosky führen diese Extreme zueinander. Varietéhafte Leichtigkeit und Ekstase treffen auf unbewegliche, erstarrte Muster von Don José und Micaëla.

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