Carmen
The libretto, by Henri Meilac and Ludovic Halévy, is based on a novella by Prosper Mérimée. The first performance of Carmen on 3 March 1875, produced such a hostile reaction that Bizet left Paris physically and psychologically ill, and died only three months later on 3 June 1875, following two serious heart attacks. The massive scandal of the premiere may have been partially the result of Bizet’s attempt to reform the Opéra Comique genre, yet it must still be said that Carmen is operatic history’s most famous example of a failure being corrected by the passage of time: Carmen is now one of the most frequently performed operas in the world. The major Spanish actress and producer Nuria Espert was brought in for the production at London’s Royal Opera House, Covent Garden in 1991, while the authentic Flamenco choreography comes from Cristina Hoyos and is danced by, among others, Juan Ortego. For the musical side of this successful production Zubin Mehta had top vocalists at his disposal to perform the roles of Carmen, Don José and Escamillo.
Die Entführung aus dem Serail
Johan Simons feisty production of Die Entfuhrung aus dem Serail is an intelligently innovative account of Mozart's 1782 comic tale of abduction, love, loyalty and forgiveness. Kurt Rydls Osmin is hilarious, with just the right edge of latent thuggery; Mojca Erdmanns smart and cheeky Blonde sports a red riding coat, high latex boots and a belt that she is not afraid to use on the men! Laura Aikins Konstanze, torn between true love and obligation, reveals a vast range of human emotions and Edgaras Montvidas Belmonte portrays his coming-of-age with clarity and genuine charisma. The performance is whipped up to a feverish pitch in the pit by Constantinos Carydis, the orchestra and chorus responding with fleet virtuosity. This ground-breaking performance delivers everything one could wish for from a Mozart opera, combining thrilling energy with a profound sense of lyrical beauty and truth.
Le Nozze di Figaro
Wit and astute theatrical awareness are the hallmarks of this exceptional vision of Mozart's and Da Ponte's famous masterpieces, directed by the duo Jossi Wieler and Sergio Morabito. Set in a 1960s youth hostel, Così fan tutte is a charmingly original tableau of adolescent inexperience, while Le nozze di Figaro, set in a car showroom, exemplifies the delicate balance between love's shadowy manipulation and its cheerful innocence. Don Giovanni, by contrast, is a breathtaking, sinister game of voyeuristic intimacy and brutal violence. Ingo Metzmacher and a sparkling ensemble and cast underscore this unique vision of a kaleidoscope of human emotions with commitment and vitality.