Bizet: Carmen

Let me start by saying that Bizet's Carmen is my favorite opera and I would recommend it as a first opera for anyone wishing to explore the world of opera. Now for the review of this particular performance.I own nine dvds (7-dvds and 2 blu-rays) of this opera. I can honestly say that this one comes the closest to perfection. In my opinion I believe the sucess of Carmen hinges on the singers portraying the lead characters and the believability they bring to the roles. In this performance all the leads completely succeeed in doing this. I believe that even though the most important role is Carmen the two male leads need to make us believe that Carmen would actually be attracted to these two men. I have always felt it is very important to have a really believable Escamillo. The reason for this is that we have to be made, in two arias, to believe that Carmen could be lured away from Don Jose by Escamillo. This is the first porduction that I have viewed that had me say, yes!, Carmen could/would leave Don Jose for this bull fighter. The Don Jose of Jonas Kaufmann is simply outstanding and Ms Antonacci's Carmen is wonderfully portrayed. Both leads have the goods, vocally and acting, for their respective roles. However, it is the Escamillo of Mr. D'Arcangelo who puts this production into the strastosphere and makes it the performance that all others will be measured against. If I had to only own one performnce of this opera it would be this performance. I am sure anyone purchasing this production will be completely satisfied.I own the following productions, all have their virtues and capture many of the principals in their prime. Bumbry/Vickers( a film version) ; Obraztsova/Domingo; Ewing/Lima(nla); Baltsa/Carreras. These are mostly of historic interest capturing some of the opera greats of the past. I also have the film with Migenes/Domingo with the two leads giving great performances and is in wide screen. All of these date from the mid-eighties or earlier so allowances need to be made for sound and aspect ratio. Of modern performances I own; von Otter's portrayal of Carmen, not bad but more of a one off version. The same can be said about the Antonacci performance conducted by Gardiner. It is a complete staging of the original first performnce and on the orginal stage of the Opera Comique where it was first performed. Antonacci is let down by her male leads though they sing their roles well the chemistry was lacking. The Micaela of Ms Gillet in this version was very nicely done. I also have the Garanca/Alagna performance from "Live at the Met" and is a clear second choice, having many of the same virtues of the Antonacci/Kaufmann.

This is a very enjoyable production of a beloved opera. And what a marvelous opera it is! I had not heard "Carmen" in some years, and I was made newly aware of Bizet's inexhaustible melodic gift - literally every tune in the show is memorable.I had liked Anna Caterina Antonacci as Cassandre (in "Les Troyens"), and she is equally impressive as Carmen. Her character dominates the stage, and she uses all her resources to get whatever she wants - but without exaggeration or self-parody. She also sings beautifully. She sometimes plays fast and loose with the ryhthms and even comes unglued from the orchestra a couple of times; and her little runs in the Gypsy Song are less than clean. But these are minor blemishes in a fine performance. Jonas Kaufmann is certainly one of the best young tenors currently on stage. His José is a model of fine singing and convincing acting - he actually elicits our sympathy for this overgrown mama's boy! And he does a lovely diminuendo on the high note in the Flower Song. Norah Amsellem does what she can with Micaëla's character and displays a lovely lyric soprano. As Escamillo, Ildebrando D'Arcangelo looks good and has the proper swagger, but his singing is less impressive. His pitches are so foggy in the Toreador Song that it's fortunate that we all know the tune. He does improve, though. The smaller parts are very well cast, and the chorus sings well, looks good, and is well-involved dramatically. The French diction is surprisingly good, even in the spoken dialogue, though the native French speakers do stand out.Antonio Pappano keeps things moving effectively, but he shows real affection for the music and a fine touch for Bizet's colorful orchestral writing.I sometimes wonder if today's preponderance of abstract sets is due more to artistic vision or budgetary constraints. This one, made up of terracotta slabs, is reasonably effective. The costumes are in the right period and look good. There are some perhaps unintentionally amusing moments, like the introduction of a burro or horse in each act. José's approaching Escamillo by rappelling down a wall has to be a first. Strongly recommended.

Regarder un opéra sur ma télé.

Great quality no distortion

Étant possesseur de différentes approches de Carmen sur CD dont l'une que j'écoute plus volontiers avec Theresa Berganza, je souhaitais ne plus me limiter à l'écoute seule mais avoir la possibilité d'assister pleinement à l'opéra par le recours au Blu-ray (le 4K n'adviendra pas, je suppose). Je me suis laissé orienter par les critiques avisées figurant dans Amazon pour retenir deux versions qui semblaient faire l'unanimité : Celle-ci, production DECCA enregistrée au Covent Garden, avec dans le rôle titre Anna Caterina Antonacci, et la production Deutsche Grammophon, enregistrée au Metropolitan, avec dans le rôle titre Elina Garanca. Je ne reviendrai pas sur les avis dithyrambiques portés sur les deux distributions, avis que je partage. Néanmoins entre ces deux versions, il est d'autres différences, qui n'ont pas été évoquées et qui à mon sens rendent cette version-ci (DECCA) supérieure à la version Deutsche.Ce qui frappe d'abord, dès l'écoute des premières mesures de l'Ouverture, c'est la clarté et la plénitude sonore de l'enregistrement. La chose est très sensible dans le registre grave qui prend une bonne ampleur sans artifice tout en conservant un bon piqué de l'ensemble du registre.Puis, rapidement on découvre le décors qui va soutenir la mise en scène et qui facilitera l'écoute du spectateur... ou pas. Dans la version Deutsche, nous voilà revenus à 1875. La machinerie de fausses pierres et de grilles séparant les espaces m'ont terriblement gêné par leur poids, augmenté par un effectif redondant. Des choix conventionnels jusqu'à l'excès. En revanche dans cette version DECCA, Peut-être moins de profondeur de scène mais un décors plus simple, plus léger, plus géométrique, presque brutaliste, fait d'une évocation architecturale de contrées ensoleillées, aux murs de pisé ocre ou brun. Nous acceptons d'emblée la présence de ce lieu qui nous devient familier et qui ne gênera en rien notre écoute et notre attention.Les équipes qui ont assuré l'enregistrement de cet opéra l'ont fait dans le même esprit et avec le même talent cinématographique. La différence se fait dans la qualité de la prise de son. Dans la version Deutsche, la quasi totalité du livret est inintelligible. La remarque vaut également pour Roberto Alagna, ce qui est tout à fait étonnant et qui m'incite à penser que le défaut de clarté doit être attribué à un défaut de maîtrise de la prise de son ou à un choix d'encodage qui a altéré la bande passante. En revanche, contre toute attente, dans cette version DECCA la diction est continument limpide et transparente. Un régal qui ajoute à la facilité d'écoute.On notera pour finir l'engagement plus qu'énergique des deux chefs tout au long de l’œuvre, engagement qui force l'admiration...Que puis-je ajouter ? Je ne regrette pas d'avoir fait l'acquisition de ces deux versions néanmoins, à l'avenir, je serai amené à regarder plus volontiers la version DECCA avec Anna Caterina Antonacci.

Bellissima la direzione di Pappano e tutti i cantanti sono molto bravi vocalmente, bella recitazione e credibili un quanto una volta tanto belli fisicamente.Grazie alla regia e alle riprese, ci si dimentica che è una recita dal vivo a teatro.Avevo la versione dvd, la ho ripresa in blueray ed è stupenda.

ホセ役の歌手は演技もすごい、さすがロイヤルオペラだけあって、舞台は演劇の域に達している。ホセが壊れていく様子…最終幕の狂気をたたえた表情と歌唱は見事。カレーラスの版はあれはあれでよいのだが端正すぎて物足りない。カルメン役はハマっている。アグネス・バルツァもすごいが、遜色ないと思う。