It is one of the events of the return to the world of opera: “Carmen” reperformed as during its first presentation 150 years ago. An original experience carried out in Rouen which required months of research and preparation until the day before the premiere.
Carmen at the opening of there lyrical return. At first glance, we say that the Rouen Normandy Opera has chosen the easy way out by programming LThe most performed French opera in the world. But it is not so. Because thea version presented six times until October 3 is the one that was played in March 1875 toComical opera in Paris, with the costumes, sets and staging of the time. This first representation of Carmen was both a public and critical fiasco. For its creator Georges Bizet it was a terrible failure which acceleratesemaybe the damage caused by his lung disease ; the composer died tthree months apvery this first.
Back to the origins
At the origin of this project, there is a structure little known to the general public, the Palazzetto Bru Zane Center for French Romantic Music based in Venice. The mission of this place of musicological research: to highlight the French romantic repertoire (1780-1920). For Carmen, it was necessary to carry out a real investigation in order to find drawings and notebooks containing details on the costumes, the sets and the staging such as the moments when soloists and choirs.
The choirs, a real character
These indications allowed the young director Romain Gilbert to work closely with the choirs. Choirs which at the end of the 19th century experienced a real revolution with this Carmen by Bizet. “Beforeexplains Romain Gilbert, the choirs were compact, they entered the stage, sang then left.
With Carmen in 1875, for the first time, the choir took off, became individualized and embodied real characters.
Romain Gilbertdirector
Sing this Carmena treat if we are to believe the members of Accentus – a chamber choir founded in 1997 by Laurence Equilbey. “It is a score whichit gives pride of place to the choirs. With Carmen, even if we are not soloists, we have no frustration”, confides Elise Beckers, chorister in the Accentus choir.
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Waiting list
With costumes by Christian Lacroix (he made 155) and a careful cast – the Canadian Deepa Johnny (Carmen), the New Zealand tenor Thomas Atkins (Don José) to name but a few – this show aroused public enthusiasm. All performances are on a waiting list. Where he is, Monsieur Bizet can finally rejoice, his Carmen is finally recognized for its true value.