English National Opera: Carmen – London Coliseum

Composer: Georges Bizet

Director: Jamie Manton 

Conductor: Clelia Cafiero 

This is the fourth revival for ENO of Calixto Bieito’s acclaimed Carmen. First performed in 2012, it is now directed by Jamie Manton. The production set in 1970s Spain leans into the steamier side of the story, boldly emphasising the erotic passions that are never far from the surface. The chorus of squaddies in Act I are almost feral in their testosterone-driven pursuit of any female in sight. Indeed, it is the power of the strongly choreographed crowd scenes, from the women factory workers, the exuberant street children and the excitable crowd at the bull fight, that really gives this production life.

The chorus and actors in these scenes bring much-needed colour to a production that espouses darkness. Alfon Flores’ set is certainly atmospheric – most scenes take place in semi-darkness – but at times it can seem drab, the final moments between Carmen and Don Jose, in particular, taking place in a more or less empty space.

Act III’s meeting of the smugglers, however, is visually a triumph – old cars are pushed into a circle, their blazing headlamps then doused, for the lively scenes in which the women use cards to tell fortunes and later use their skills to decoy border guards. The silhouette of an enormous bull is powerful too – there’s a gasp when it is brought crashing down. But if you’re brought up on productions of Carmen that are strongly Spanish-flavoured, Bieito’s may lack a certain visual intensity.

The soloists are mainly rising stars, several of whom have been part of ENO’s Harewood Artist scheme. British tenor John Findon gives Don Jose an increasingly compelling lyricism, particularly in his Act II aria and duet with Carmen. One of the trickier aspects of this production, however, is that Carmen is never shown to desire this Jose. She is instead forever coldly manipulative. Her seduction of him in Act II to ensure he deserts the army becomes convincingly savage as she slips off her knickers before straddling his powerless body.

But this makes it hard to feel the tragedy of what is lost. The libretto lays emphasis on their having loved each other at least at first. This then makes sense of what Jose has been warned about – that Carmen is quick to tire of her lovers.  And indeed her head is later turned by glamorous toreador, Escamillo (a suitably sexy performance by Corey McGee). But all Jose’s agony for lost love now just makes him seem a deluded fool. The more powerful contrast is with his relationship with the devoted Micaëla, beautifully sung and performed by Irish soprano Ava Dodd. We are made to feel the pain of his repeated rejections of her, and the complex feelings she evokes of his dying mother.

Niamh O’Sullivan is magnificent as Carmen herself, blonde, sexy and perpetually predatory. She has a commanding stage presence and her sultry mezzo-soprano voice wonderfully characterises Bizet’s free-spirited heroine, daringly insisting on her right to a life of free love.

The ENO Orchestra is conducted with brio on this opening night by Clelia Cafiero, who alternates with Olivia Clarke. There are a couple of occasions where orchestra and soloists lose connection, but this will doubtless be ironed out in further performances.

Runs until 5 November 2025