Jean-François Borras (Don José)
Li Yang (Micaëla)
Vittorio Vitelli (Escamillo)
Apollo Wong (Zuniga)
Joyce Wong (Frasquita)
Bobbie Zhang (Mercédès)
Albert Lim (Dancairo)
Chen Chen (Remendado)
Alexander Chen (Moralès)
The Song and Dance Troupe of Fujian Opera Dance and Drama Theatre
Opera Hong Kong chorus and children chorus
Hong Kong Sinfonietta
Yves Abel (conductor)
Jean-Romain Vesperini (director)
Besides Carmen is very audience friendly with the hearty and tuneful music, it also provides opportunity to showcase the house emerging singers, children choir and the dancers. Along music visualisation of dance movements, Spanish bullfighting spirits and gypsies' carefree lifestyle, the stage focus is easily turned to celebrate cliches alike a cabaret show. This new production by Jean-Romain Vesperini attempted to avoid such trend of approach, and reminded us that death was the final outcome. Video projections of animal skulls with extras wearing ghost masks and the atmospheric bleakness, all suggested a sad finale. The rotating stage set was simple yet effectively to transform spaces into the city walls, bull ring and even tavern. It fitted well in proportion to the grand theatre stage, which simplicity preferred than cramping too many things in a tight box. Stylish visual design and stage lights scheme, by Christophe Chaupin and Etinenne Guiol, set the scenes for many pretty visual moments.
Nevertheless, the dramaturgy was sometimes cardboard like only to look good for the moment but far from enhancing the narrative flow. Such as the chorus flooded the stage at the beginning of act three with lanterns but nothing to relate with their smugglers' activities. Yet the chaos arose from the fight between Carmen and factory girls, also the final scene where Don José murdered Carmen in an empty arena, were rather effective in conveying the tension and emotions. Whether it was Vesperini's idea or the company's preference, the special placing of children's choir never fit with rest of the choreography. The march of the street children in act one felt to be a separate entity to please the parents and patrons seeing them performing on stage, but ignoring the underlying message that women and children worked and lived at the tobacco factory to stay away from the streets. Then in the last act again positioning them in front of the main chorus rather than mixing. Their colourful outfits and cheerful dance undermined the growing intensity as death haunted the scene.
Sometimes an action also lacked a natural happening and one could predict what would happen next. Such as the first appearance of Carmen descending the staircase alike the entrance of a star, but lacked the carefree wildness to draw the attention of Don José. His introduction also felt intentional rather than emerging from the crowd. Same with Carmen's escape without a struggle or chaos when the factory girls surrounded the officers. Moreover, part of the conceptual idea lacked development than a brief suggestion. For example, the theme of death with extras in death masks and animal skulls disappeared after the overture and not to be seen until the last act at the bull ring. It could have been more eerie and haunting at the telling of fortune from cards on Carmen's fate. There is also the question on which performing version to be used. The adopted format in this performance favours musical flow with big numbers following one another. Though the significant reduction of dialogues, which would have been practiced by the original opera comique structure, reduce the psychological insight and depth as the tale unfolds. Although one understand the stubbornness of Don José's feelings towards Carmen clearly, her change in feeling for him is abrupt than a gradual progression.
Though importantly, the music quality of this performance added further excitement on top of the visual appreciation. Varduhi Abrahamyan possessed the rich smoky timbre that very much ideal for the role of Carmen. Her vocal colour stayed same and smooth when changing registers. She was a good actress too that demonstrating the confidence, independence and seductive side of Carmen. Vocally she and Jean-François Borras both delivered a good projection that filled the hall effectively, and also flexible to match lighter voices such as the trio with Frasquita and Mercédès. In comparison, Borras was not as consistent as Abrahamyan. Probably because he and conductor had different ideas on the tempo, the flower song in act two was not very legato. He was swelling through and not able to sustain the vocal lines. Yet the duet with Micaela, Parle-moi de ma mere, also later confrontation with Carmen, he sang with much better flow and confidence that carried the dramatic intention, and brought out the vocal richness of his timbre. Li Yang was more successful in the duet 'Parle-moi de ma mere' than her solo item later in act three 'Je dis que rien ne mepouvante'. Diction was clear, but her vocal projection was more effective at higher register than in the chest voice, which nearly inaudible at times.
Mixed impressions from Vittorio Vitelli that oddly he hesitated with muddy diction in the supposedly majestic toreador song, but far more natural later in the teasing and confrontation with Don José at act three. Confident singing and clear diction from Apollo Wong even though slightly stiff in his acting. Among the minor roles, Joyce Wong and Bobbie Zhang lacked the vocal richness and felt underweight when singing along with Abrahamyan. Albert Lim made a good start with the desired vocal colour but like Chen Chen their diction did not sound convincing. The sinfonietta played better with a more spirited tone and better intention than some past occasions I encountered. They were responsive to Yves Abel's conducting, but he sometimes seems impatient with the tempo. The swiftness kept the momentum forward but not necessarily accommodating the singers' rubato. Otherwise, choral singing was on a high standard by maintaining good intonation and projection throughout, vibrato free, also clear with the text. The ladies had demonstrated they could manage complicated choreography while singing together in act one. A huge improvement than past productions, which credited to Alex Tam for his good work.
(Photo credits: Opera Hong Kong)
Li Yang (Micaëla)
Vittorio Vitelli (Escamillo)
Apollo Wong (Zuniga)
Joyce Wong (Frasquita)
Bobbie Zhang (Mercédès)
Albert Lim (Dancairo)
Chen Chen (Remendado)
Alexander Chen (Moralès)
The Song and Dance Troupe of Fujian Opera Dance and Drama Theatre
Opera Hong Kong chorus and children chorus
Hong Kong Sinfonietta
Yves Abel (conductor)
Jean-Romain Vesperini (director)
Besides Carmen is very audience friendly with the hearty and tuneful music, it also provides opportunity to showcase the house emerging singers, children choir and the dancers. Along music visualisation of dance movements, Spanish bullfighting spirits and gypsies' carefree lifestyle, the stage focus is easily turned to celebrate cliches alike a cabaret show. This new production by Jean-Romain Vesperini attempted to avoid such trend of approach, and reminded us that death was the final outcome. Video projections of animal skulls with extras wearing ghost masks and the atmospheric bleakness, all suggested a sad finale. The rotating stage set was simple yet effectively to transform spaces into the city walls, bull ring and even tavern. It fitted well in proportion to the grand theatre stage, which simplicity preferred than cramping too many things in a tight box. Stylish visual design and stage lights scheme, by Christophe Chaupin and Etinenne Guiol, set the scenes for many pretty visual moments.
Nevertheless, the dramaturgy was sometimes cardboard like only to look good for the moment but far from enhancing the narrative flow. Such as the chorus flooded the stage at the beginning of act three with lanterns but nothing to relate with their smugglers' activities. Yet the chaos arose from the fight between Carmen and factory girls, also the final scene where Don José murdered Carmen in an empty arena, were rather effective in conveying the tension and emotions. Whether it was Vesperini's idea or the company's preference, the special placing of children's choir never fit with rest of the choreography. The march of the street children in act one felt to be a separate entity to please the parents and patrons seeing them performing on stage, but ignoring the underlying message that women and children worked and lived at the tobacco factory to stay away from the streets. Then in the last act again positioning them in front of the main chorus rather than mixing. Their colourful outfits and cheerful dance undermined the growing intensity as death haunted the scene.
Sometimes an action also lacked a natural happening and one could predict what would happen next. Such as the first appearance of Carmen descending the staircase alike the entrance of a star, but lacked the carefree wildness to draw the attention of Don José. His introduction also felt intentional rather than emerging from the crowd. Same with Carmen's escape without a struggle or chaos when the factory girls surrounded the officers. Moreover, part of the conceptual idea lacked development than a brief suggestion. For example, the theme of death with extras in death masks and animal skulls disappeared after the overture and not to be seen until the last act at the bull ring. It could have been more eerie and haunting at the telling of fortune from cards on Carmen's fate. There is also the question on which performing version to be used. The adopted format in this performance favours musical flow with big numbers following one another. Though the significant reduction of dialogues, which would have been practiced by the original opera comique structure, reduce the psychological insight and depth as the tale unfolds. Although one understand the stubbornness of Don José's feelings towards Carmen clearly, her change in feeling for him is abrupt than a gradual progression.
Though importantly, the music quality of this performance added further excitement on top of the visual appreciation. Varduhi Abrahamyan possessed the rich smoky timbre that very much ideal for the role of Carmen. Her vocal colour stayed same and smooth when changing registers. She was a good actress too that demonstrating the confidence, independence and seductive side of Carmen. Vocally she and Jean-François Borras both delivered a good projection that filled the hall effectively, and also flexible to match lighter voices such as the trio with Frasquita and Mercédès. In comparison, Borras was not as consistent as Abrahamyan. Probably because he and conductor had different ideas on the tempo, the flower song in act two was not very legato. He was swelling through and not able to sustain the vocal lines. Yet the duet with Micaela, Parle-moi de ma mere, also later confrontation with Carmen, he sang with much better flow and confidence that carried the dramatic intention, and brought out the vocal richness of his timbre. Li Yang was more successful in the duet 'Parle-moi de ma mere' than her solo item later in act three 'Je dis que rien ne mepouvante'. Diction was clear, but her vocal projection was more effective at higher register than in the chest voice, which nearly inaudible at times.
(Photo credits: Opera Hong Kong)
