Tag Archive: Georges Bizet

Bizet’s Carmen at the Boston Lyric Opera

The Boston Lyric Opera has left its long-time, unsatisfactory home in Boston’s Shubert Theater. This season each production will be mounted in a different space, and the Boston Globe reports that BLO has joined some other local theatrical groups to bid for ongoing use of the fine Colonial Theater (now owned by Emerson College) when it is restored and reopens in a year or so—seems an outcome to be wished for. Meanwhile, BLO has started its current season with Bizet’s Carmen in the Opera House on Washington Street, once home to Sarah Caldwell’s highly creative Opera Company of Boston, in recent years home of the Boston Ballet and site of a never-ending stream of very popular traveling Broadway musical productions. The Opera House is a grand space with good acoustics, a broad stage, sizeable orchestra pit, and adequate lobby space on two levels. It is good to see and hear opera staged here once again.



Tainted Ladies: Georges Bizet’s Carmen and Luigi Cherubini’s Medea at Glimmerglass Festival 2011

Yesterday – would you believe it? – I heard Bizet’s masterpiece for the twentieth time. Once more I attended with the same gentle reverence; once again, I did not run away. This triumph over my impatience surprises me. How such a work completes one! Through it one almost becomes a “masterpiece” oneself – And, as a matter of fact, each time I heard Carmen it seemed to me that I was more of a philosopher, a better philosopher than at other times. I became so forbearing, so happy, so Indian, so settled….Bizet’s music seems to me perfect. It comes forward lightly, gracefully, stylishly. It is lovable. It does not sweat.
Friedrich Nietzsche – The Case of Wagner, (Leipzig, 1888).

Nietzsche was, of course, ironically extolling Carmen at the expense of his erstwhile mentor-idol-friend, Richard Wagner. Even though Wagner had been dead for five years, Nietzsche had great fun zinging Wagner’s family, followers, and the entire Bayreuth phenomenon. Yet, his comment that “it does not sweat” ultimately lingers in one’s judgment of Bizet’s masterpiece. Nietzsche would have had little to comment on the subject matter of this opera, nor on the moral turpitude to which the opera’s male hero falls. Nietzsche might have even identified with Don José in his own affair with the free thinking and flamboyant psychoanalyst, Lou Andreas-Salomé. With the philosopher’s mother and sister holding him in check, he never had the opportunity to be so lustily ruined by his own Carmen.



Carmen in a Sydney High Summer

If Carmen is a femme fatale, then her opera could play as a kind of hybrid of an Anthony Mann western and film noir. It has the gun runners and even a climactic fight on a rocky crag, but also the weak man haunted by his past, falling in love with the woman he later remembers he doesn’t particularly like. Micaëla would be the innocent girl he really loves, but in trying to protect her from himself, just draws her into his disastrous life. This production, however, is different. Carmen becomes as sympathetic as one could imagine, with no material desires, she loves only freedom but to the point of self-banishment, to paraphrase John Donne. At least, she is sympathetic in contrast with a Don José who is an extreme introvert, more haunted and broken than weak, who eventually succumbs to insanity. Carmen is a rather extreme extrovert which brings its own problems, and the concept of opposites attracting is played convincingly: the pair’s initial mutual fascination and affection becomes binding and they continuously rub each-other the wrong way until they mutually annihilate.





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