GEORGES BIZET: Annick Massis, soprano; Yasu Nakajima, tenor; Luca Grassi, baritone; Luigi De Donato, bass; Orchestra e Coro del Teatro La Fenicedi Venezia/Marcello Viotti; NTSC all regions; Subititles: French, English, Italian, German, Japanese, Chinese;

Also available on Blu-ray

Georges Bizet‘s captivating music with its Spanish sounds took the world by storm: Carmen‘s Habanera and Seguidilla, like Escamillo‘s Toreador‘s Song, are known to one and all. The French composer‘s most successful opera is staged at Bregenz with a set designed by British artist Es Devlin. She has designed sets for pop stars like Adele, U2, Take That, the Pet Shop Boys and Kanye West. In collaboration with the stage director Kasper Holten, Director of Opera at the Royal Opera House in London, she has also worked at opera houses in Helsinki and Copenhagen, at the Theater an der Wien and the Royal Opera House Covent Garden. For the Danish stage director, this "opera about destiny and obsession" centres on "two people who are treated as outsiders, whose paths cross and who cling to each other in a passionate but unhealthy relationship". "In terms of sound and, above all, visual finesse, the Carmen in Bregenz is opulent … and brilliant opera show.“ (Wiener Zeitung) "The lake-stage in Bregenz is a venue for theatrical spectaculars, and Kasper Holten’s production of Carmen on Es Devlin’s extraordinary set was a knockout.“ (The Telegraph) "The French singer Gaëlle Arquez proves to be a lucky find. Not only her massive, shimmering mezzo-soprano is convincing, but her high-quality acting skills as well.” (Salzburger Nachrichten)

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Also available on standard DVD

Georges Bizet died at the tragically young age of 36 while Carmen was still in it's first run, and he never witnessed the huge international acclaim his opera received. Filled with jealousy and passion, the gripping and ultimately tragic narrative of Carmen initially shocked audiences, but with an abundance of memorable tunes, it remains unchallenged as one of the most popular operas ever written. Carmen received it's premiere at the Opéra Comique in Paris in 1875, and this internationally acclaimed production, performed on period instruments, represents a triumphant return to it's home theatre. 'Carmen has never sounded more revolutionary, romantic or thrillingly vibrant' (The Times, London).

REVIEW:

Ms. Antonacci comes across as a totally convincing Carmen, vocally and dramatically. Her Habanera is spicy, alluring and sung with utter confidence and swagger, while her Second Act Les tringles des sistres tintaient shows her displaying an exotic style quite perfect for this colorful number. Straight through the opera she is consistently excellent, conveying effectively every aspect of the conniving and manipulative side of seductress Carmen’s character. Andrew Richards is splendid as Don José, the soldier hopelessly enamored of Carmen and tortured by her rejections. His Second Act Flower Song (La Fleur Que Tu M’avais Jetée) is sung with tenderness and passion. His dramatic skills are impressive throughout: note how effectively he becomes a different Don José in the final act, degenerating to desperation and finally to a murderous level in answer to Carmen’s final rejection.

Anne-Catherine Gillet as Micaëla is also quite fine. She has an angelic soprano voice, which is especially beautiful and strong in the upper ranges. In the First Act Parle-moi de ma mere she sings with great passion and arresting innocence. Her Third Act Je dis que rien ne m’épouvante is also quite good even if at moments she veers toward stridency. Nicolas Cavallier as Escamillo is also impressive, and the rest of the cast is very convincing.

As suggested above, Sir John Eliot Gardiner and his fine orchestra also deliver stellar work for their part. Gardiner’s tempos are brisk, and the orchestra’s playing is always spirited, precise and full of feeling. In fact, I’m not sure I’ve ever heard better phrasing and orchestral playing in any other recorded performance of Carmen. Try the Act II Overture and notice how subtly Gardiner shapes the music as it builds from its demure opening to a lively exotic dance and then transitions right into Carmen’s brilliantly sung Les tringles. Of course, the Prelude at the opera’s outset is brilliantly played too and all the accompaniments throughout the opera are consistently well done.

The costuming is historically accurate and quite realistic: clothes of the factory workers and smugglers appear worn and sometimes tattered, though Carmen’s attire is usually a cut or so above the others’. I wouldn’t necessarily associate the costuming with Spain but it is nevertheless quite fitting throughout the opera. Sets are rather sparse and the lighting is often faint, leaving dark scenery, which is generally quite effective here.

Stage Director Adrian Noble clearly understands drama and the theater. Here he does not tamper with the essentials of the opera’s story or time period as so many other stage directors have lately done with this and other operas. That said, he does add—with good historical foundation though—a few touches that mostly enhance this production. For example, using the aforementioned Smith’s Edition Peters Urtext, he inserts a scene where Moralès looks out toward the audience and observes an incident along with fellow soldiers to his left and right. He wittily describes its action: a young wife is secretly handed a message from her lover while strolling with her oblivious older husband. This scene is employed instead of a pantomime, which was used in some early performances of Carmen but thereafter abandoned. In any event, this subtle tidbit helps fill out the picture of life in Carmen’s Seville. In the end, Noble’s treatment of Carmen must be judged an imaginative and fresh take on this warhorse opera.

The camera work, picture clarity and sound reproduction on this Blu-ray disc are excellent. As for the competition on video, not surprisingly it is plentiful. There are two splendid Franco Zeffirelli renditions from the Arena di Verona: one on TDK, from 2003, featuring the brilliant Marina Domashenko as Carmen and led by Alain Lombard; the other is on BelAir Classiques, from 2014, with Ekaterina Semenchuk in the lead and Henrik Nànàsi conducting. Of these two I would favor the earlier one. There is an excellent version, but updated to current times, on Unitel Classica, from 2010, featuring a star-studded cast of Béatrice Uria-Monzon and Roberto Alagna in the leads, and Marina Poplavskaya as Micaëla and Erwin Schrott as Escamillo. But Calixto Bieito’s staging won’t be to everyone’s taste, with its use of Mercedes Benz cars, flat screen televisions, simulated sex scenes and other added features. On purely musical grounds it is excellent and probably the equal of the Gardiner/Naxos, but it falls short owing to its sometimes wayward and somewhat incoherent production. The Lombard/TDK features a fine production, but so does this Naxos effort, and in the end its strengths outweigh the others’. The Gardiner/Naxos would thus be my first choice in video format.

– MusicWeb International

In Bizet’s opera Les pecheurs de perles (The Pearl Fishers) the composer shows us that he is much more than Carmen. His melodies are beautiful, his harmonies are lush, and the ballet pieces are sophisticated. Included in this opera is “Je crois entendre encore,” a staple in every tenor’s repertoire, and the duet “Au fond du temple saint.” Paolo Isotta writes of this production, “I have rarely seen a production as beautiful and faithful to the music.”

Picture Format: 16:9
Sound Formats: DTS 5.1, PCM Stereo
Subtitles: French, English, German, Spanish, Chinese, Korean
Booklet: English, German, French
Region Code: 0 (Worldwide)

"Very grand... Price is a highly dramatic Carmen, Mirella Freni contributes a most sensitively sung Micaëla, and Corelli sounds glorious..." -- BBC Music Magazine [reviewing the complete version, RCA 39495

"Karajan's RCA version, made in Vienna in 1964, owes much to Leontyne Price's seductive, smoky-toned Carmen... Robert Merrill sings with gloriously firm tone, while Mirella Freni is enchanting as Micaëla." -- The Penguin Guide to Compact Discs & DVDs [2003/4 edition, reviewing RCA 39495]

A magical evening at the Tivoli Gardens! This new compilation features live and studio recordings of light orchestral waltzes and polkas, including the greatest hits of the Danish 'Waltz King', HC Lumbye. Several studio recordings from the 1940s receive their first release on album. Album 2 features a previously unpublished live concert broadcast direct from the Tivoli Gardens, where the people of Copenhagen have enjoyed relaxation and entertainment ever since 1843. Thomas Jensen directs the Tivoli orchestra with the same authority he brought to his classic recordings of Nielsen and Sibelius.