Vancouver, BC – written April 29, 2024 – “Carmen,” the Opera, which premiered at the Queen Elizabeth Theatre on Saturday, April 27, tells a story inspired by real events. Set in the bustling streets of Seville, Spain, “Carmen” weaves a narrative of love, jealousy, and betrayal against the rich tapestry of Spanish culture. Originally penned in 1845, the tale revolves around the tragic fate of an unfaithful Romani (“gypsy”) girl, Carmen, who meets her demise at the hands of a soldier consumed and even obsessed by his love for her. This was my first time watching “Carmen” and I was very much looking forward to it.

There are four acts, and the first three deftly set the stage for the tragic conclusion in Act IV. Despite its historical setting, the themes of passion and human frailty depicted in “Carmen” resonate across time, inviting audiences to envision similar dramas unfolding in any modern cityscape, even in the year 2024. We arrived at 7:00 pm and didn’t leave until after 11 pm, yet the time seemed to fly by. We were utterly captivated by the breathtaking backdrops, the evocative lighting, and the intricate choreography that seemed to transform every scene into an exquisite dance.

Photo by Emily Cooper

Sarah Mesko, in her debut performance with the Vancouver Opera as the titular character “Carmen,” delivered an exceptional portrayal with her mesmerizing mezzo-soprano vocals. Alok Kumar, known as “Don José,” showcased his talent as a tenor, drawing from his experience with prestigious opera companies like the Vienna Volksoper and the State Opera of South Australia to embody the passionate and tormented soldier. However, it was Jonelle Sills in the surprising secondary role who truly captured my heart. Initially, I found myself firmly aligned with “team Carmen,” but Sills’ performance gradually won me over with her compelling portrayal and stunning vocal delivery. I felt a sense of sadness as she took her final bow, leaving a lasting impression on the stage.

Photo by Emily Cooper 2024

The juxtaposition of hearing dialogue and singing in French against the backdrop of palm trees and island sunsets was somewhat disorienting for me. I found myself anticipating Spanish dialogue, which would have aligned more closely with the setting. However, in reality, the language difference didn’t significantly impact my understanding, as I’m not fluent in either French or Spanish. Nevertheless, having studied some French, I could discern the linguistic disparities.

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I found it interesting to learn that Georges Bizet wrote his masterpiece, Carmen based on a story by the contemporary French author Prosper Merimee. This work caused a scandal when it was first produced in 1875, but it inaugurated a new chapter in the history of opera; and the combination of local colour and emotional impact, as well as familiar melodies have made this opera a favourite with musicians and public alike. The philosopher Friedrich Nietzsche, for example, regarded it as the type of “Mediterranean” music that was the antidote antidote to Wagner’s Teutonic sound.

With its unforgettable melodies and emotionally charged performances, Georges Bizet’s masterpiece captivates audiences with its timeless themes and complex characters. As Director Rachel Peake puts it, “I know the challenges of being a woman in Canada in 2024. I can only guess what the challenges of being a women in the middle of the 20th century in Southern Europe. She (Carmen) chooses to use her sexuality, her playfulness, her looks, her cunning, to get by in life. And (yet) she knows, as all women know, that exerting her power is dangerous.”

Yet his Opera also offered a delightful surprise in the form of a talented ensemble of innocent children who not only sang but were intricately woven into the storyline. They are reportedly the Vancouver Opera Children’s Chorus, and their performance was truly impressive. Additionally, the sets featured balconies that allowed members of the chorus to climb up or stand on, adding depth to the visual storytelling. This detail was executed with great skill. The credit for the exceptional set and costume design goes to Gary McCann, an internationally renowned designer known for his work in opera, musicals, and theatre. Kudos to him for his outstanding contributions to the production.

From the fiery passion of Carmen to the tormented love of Don José, each character was portrayed with depth and nuance, immersing viewers in their tumultuous world. However, as the story unfolded, there were moments when I found myself wanting to shake Carmen. Despite receiving warnings from the cards about impending danger, she seemed determined to defy fate. Knowing that her former lover was a skilled soldier with a propensity for violence, Carmen still chose to cast him aside, putting herself at risk. Even when advised against being alone with him, she recklessly disregarded the danger, leaving me questioning her choices. Why did she not seek safety among others who could have protected her? The complexity of Carmen’s character left me pondering the depths of human folly and resilience.

Matthew White and Ginger Costa-Jackson – Photo by Jonathan Nicomedes

As the drama unfolds, audiences will be swept away on a journey filled with passion, tragedy, and unforgettable music, making “Carmen” an opera that continues to enchant and enthrall audiences around the world. It is almost like visiting London for the very first time. I was surprised how many things in London were familiar sights, as I had seen them in countless movies and TV shows; everything seemed familiar. Just like listening to Carmen, I recognized much of their music. The melodies, though perhaps heard for the first time live, resonated deeply, evoking memories of past encounters with this timeless masterpiece.

But then again, this Opera is almost 150 years old! Get your tickets here: https://bit.ly/4dm9iA8

2024-2025 Season

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Great News: The Fledermaus Operetta composed by Johann Strauss II Arrives in October 2024!

With its hilarious, champagne-forward hijinx, Strauss’ classic operetta Die Fledermaus is the perfect way to pop the cork on our celebratory season in October and November 2024. Given that the title translates to “The Bat” (sometimes even presented as “The Revenge of the Bat”), you’d be forgiven for expecting some ominous dark fluttering while gravel-strafed voices say intense things indecipherably. But with its huge chorus, boisterous party scene, and rousing songs like “King Champagne”, Strauss’ beloved operetta absolutely radiates charm, wit, and good-natured mischief. Ashlie Corcoran returns to direct her second Vancouver Opera season opener in a row, having helmed the fantastical Magic Flute in 2023, while the high-spirited score is conducted by Vancouver Opera Music Director Jacques Lacombe.