Costa-Jackson anchors a darker, more grounded Carmen revival
Ginger Costa-Jackson leads a Royal Opera House revival of Damiano Michieletto’s Carmen, set in Franco’s Spain. The review praises her powerful, dark-voiced performance and says the staging makes the opera’s oppressive atmosphere and sexual violence feel more carefully grounded.
The production’s barren setting, vivid lighting and lively conducting build tension, though the review finds some choices distracting, including the children’s entr’acte appearances and an overused symbol of fate. Russell Thomas gives Don José a thrilling final scene, while Adriana González and Alexander Vinogradov add vocal appeal as Micaëla and Escamillo. The production runs until 21 November.
In short
- Ginger Costa-Jackson’s Carmen anchors the revival.
- The Franco-era setting intensifies the drama.
- Children’s entr’actes and staging choices draw criticism.
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Setting Carmen in Franco’s Spain can make the opera’s coercion and sexual violence feel rooted in a recognisable climate of repression, giving the revival’s darker atmosphere dramatic purpose. Costa-Jackson’s performance and the tense staging may help audiences see Carmen as a person navigating danger rather than as a romanticised symbol.
The case against
A politically specific setting can impose a contemporary interpretation on an opera whose characters and conflicts may be understood more broadly, narrowing the audience’s room to interpret it. The oppressive imagery and emphasis on sexual violence may also risk making the production feel heavy-handed, especially if devices such as the children’s appearances or the recurring symbol of fate distract from the music and drama.
Culture Europe Software Technology World
Read the full article at the source →
Originally published by The Guardian as “Carmen review – Costa-Jackson’s smouldering heroine blazes brightly”.