Review: Carmen (Royal Opera House)

Review by Sam Woodward

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It is a sad but true fact that many of the world's most celebrated and loved artists, from musicians and composers to writers and poets, unfortunately died before they could enjoy the success of their works. Vincent van Gogh sold very few paintings during his lifetime, John Keats died before receiving the recognition his poetry would later enjoy, and Herman Melville’s Moby-Dick met with a disappointing reception and poor sales before becoming the cornerstone of American literature we know today. Georges Bizet fits this bill all too easily, having died at age 36 just three months after Carmen premiered to scathing reviews, completely unaware it would become one of the most popular operas in history. 151 years later, Carmen remains often revived and much beloved, returning to the Royal Opera House in London for a short run, staged by Damiano Michieletto and first seen here in 2024.

Despite its original disastrous reception, Carmen has fascinated audiences for years, perhaps initially through its departure from the conventions of the Opéra-Comique and its portrayal of sexuality and violence, which unsettled audiences at its premiere in 1875. Its continued success, however, is perhaps thanks to melodic beauty and the dramatic realism of the story in equal measure. Following the destructive relationship between Carmen and Don José, this is a tale of love, jealousy, doom and betrayal; all the makings of a gripping story, whether it be in a play, musical, ballet or opera. Damiano Michieletto’s staging of Carmen sets the piece in a rather rural and nondescript 1970s Spanish setting, a departure from more traditional revivals of the piece. By adding a contemporary spin to the opera, this production provides audiences with a profound sense of understanding which is not always easy for a French-sung opera. Combining Bizet’s masterfully vibrant and emotional music with a relatable and localised performance, the production magically merges the fiery drama of the tragedy with the ease and warmth of a sultry Spanish evening.

Michieletto’s contemporary staging works surprisingly well with Bizet’s rousing score, conducted by Sesto Quatrini, who allows the orchestral atmosphere and dramatic energy to be superbly realised. There are also several moments where the male ensemble perform beautifully together, their harmonies particularly special. With a libretto by Henri Meilhac and Ludovic Halévy, this production leans more heavily into the angst and independence of Carmen, as well as putting particular emphasis on Don José’s mental state and his relationship with his mother. This is the first staging I’ve seen of Carmen where Don José’s mother physically appears, and her role as both mother and bewitching Grim Reaper is a welcome addition. Showing Carmen less as a tragic heroine and more as an apparently nonchalant yet anguished soul makes her character thrive on a much deeper level than first appears. Carmen’s Habanera aria has a casualness to it: outside a police station, she pulls up a chair, drinks a beer and smokes a cigarette, making the character feel more recognisable and relatable. No longer the wily temptress corrupting those around her, Carmen becomes an almost melancholic and miserable woman who would quite like to escape the lot she's been given. It is this renewed sense of humanity from Carmen that allows this production to shine, proving exactly why it's important to revive a piece with a sense of modernity, and a twist on a classic story of desire and possessiveness.

Ginger Costa-Jackson embodies the provocative nature of Carmen perfectly. Balancing a whole dose of defiance and angst with a sensual seduction of the men that cross her path, Costa-Jackson is a perfectly timed Carmen. With her stunning mezzo-soprano and a performance that captures a character both trapped by her circumstances and endlessly free, it is difficult to take your eyes off Costa-Jackson as she explodes with a powerhouse voice and spirited performance.

Russell Thomas as Don José is masterful. His tenor is spectacular, filling the Royal Opera House with a resonance and power that are magnificent. Aside from his vocals, Thomas brings emotion and depth to the character of Don José that makes him not simply a villain but a broken and defeated man. His despair and devastation as he battles between his desire for Carmen and the pull of his mother and hometown are perfectly judged. His final act of violence grows out of the emotional turmoil Thomas has carefully established. Thomas has a richness and potency to his voice, and brings a great tenderness to the role of Don José.

The standout performance of this production is undoubtedly that of Adriana González, who plays Micaëla. As a somewhat modest village maiden who has long been in love with Don José, González delivers a truly breathtaking soprano performance. Although her appearances are relatively brief, Micaëla carries messages from José’s mother and represents the life he has left behind, fighting a losing battle to save him from the dangers of Carmen. González’s highly agile voice is bright and melodic, shimmering through Bizet’s score like the sun shining on the moving ocean. The expressive nature of González’s vocals is endlessly impressive, leaving me wanting to hear much more from her. Alexander Vinogradov’s Escamillo is full of the ego and strength his character deserves, although at times he feels less fully developed than the other principal characters. Overall, the cast of this production of Carmen is outstanding, enacting Michieletto’s staging, living up to Bizet’s score, and engaging audiences throughout the four acts of the opera.

Michieletto’s production has been revived by Dan Dooner, and while I didn’t see the 2024 version, Dooner has done an exquisite job of bringing Michieletto’s piece back to life. Moments of lightness and humour, through casual dancing and children’s games, then give way to the anguish and violence of darker scenes. Carla Teti’s costumes help audiences understand the contemporary Spanish backdrop of the show, with warm-toned traditional short-sleeved shirts really engaging with the small-town feel of the production. The warm yellow, orange, white and brown hues of the costumes, from factory workers to the police officers on stage, create a strong backdrop to the central figures' costumes. Carmen is often clad in bright reds and pinks, allowing her to stand out against her surroundings. Don José’s costumes move from neutral to dark, a subtle foreshadowing of his story, and Escamillo’s bullfighting costume has all the pomp and circumstance it requires.

Together, the costumes and Paolo Fantin’s slick and cleverly moving set give Carmen the perfect backdrop against which to unfold. Most impressive, however, is the lighting design by Alessandro Carletti. The lighting provides the haze and glow of a warm summer’s evening, and a large lighting rig makes the final scenes incredibly powerful. Carletti’s lighting is perfectly judged throughout, and adds a dynamic and impactful sense of impending doom to the proceedings.

It is not always clear whether a show needs to be revived, and after 151 years, it is a fair question to ask why creatives and audiences alike keep returning to Carmen. However, this production at the Royal Opera House easily dismisses these concerns. Combining the history and intent of the show as a tragic love story and opéra comique with Bizet’s brilliance of melody, and adding a contemporary spin and depth of character, this production of Carmen certainly deserves its place on the stage in 2026. Balancing light and dark, humour and pain, and containing some standout performances, Carmen continues to enthral and move audiences. It remains a shame that Bizet never knew just how enduring and powerful his Carmen was to become.

Carmen plays at the Royal Opera House until 21 November. Tickets from https://www.rbo.org.uk/production/carmen-damiano-michieletto#dates-and-cast 

Photos by Mihaela Bodlovic.