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Carmen MET 2010
Description: Richard Eyre’s stunning fresh production of Bizet’s opera was the talk of the city when it was unveiled on Fresh Year’s Eve 2009. Elīna Garanča leads the cast as the iconic gypsy of the title—a girl desired by each boy but determined to remain real to herself. Roberto Alagna is Don José, the soldier who falls under her spell and sacrifices everything for her love, only to be cast aside when the toreador Escamillo (Teddy Tahu Rhodes) piques Carmen’s interest. With dances created by star choreographer Christopher Wheeldon and conducted by rising maestro Yannick Nézet-Séguin, this Carmen brings each aspect of Bizet’s tale to thrilling life, from its lighthearted beginning to its inevitably tragic climax.
Released: N/A Director: Richard Eyre Writers: N/A Actors: Roberto Alagna, Elina Garanca Genres: N/A
Trailers and related videos:

See Carmen: "L'amour est on youtube.

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See Carmen - Habanera - Elina Gara on youtube.

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See Elina Garanča - Carmen The Met on youtube.

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See Nous avons en tete une affaire on youtube.

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See Carmen - Met Opera Live FULL M on youtube.

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See Carmen - Les tringles des sis on youtube.

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See Carmen - Met Opera Live FULL M on youtube.

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See Carmen: Final Scene (Elina Gar on youtube.

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See Carmen (Met, opera) on youtube.

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See Bizet Carmen (Nadia Krasteva, on youtube.

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Carmen MET Reviews:

I love Carmen, it is one of my all-time favourites. Of the productions I've seen, this Carmen is not as nice as the 1984 and 1967 movies which are the definitive Carmens to me. However, despite its issues it is one of the better Carmens I've seen and I've seen almost all that are listed on IMDb.Not only that, it is for me one of the better Met:Live in HD broadcasts, up there with Eugene Onegin, Il Trittico, Dr Atomic, La Boheme, Thais, La Rondine, Il Puritani and La Sonnambula, and infinitely superior to the disappointing Lucia Di Lammermoor(the Netrebko production) and the fiascoes that were Tosca and Hansel and Gretel.The Met production of Carmen is not perfect. I didn't like it that the final stage is when a heavy bull gets slaughtered. This didn't work for me seeing as it is intended for the final stage to be a confrontation between Carmen and Don Jose(beautifully played otherwise by both leads with Garanca especially intense), which is one of the highlights of the opera, having a wooden bull really diminished the drama and gave a somewhat campy feel that didn't sit right with me.My another flaw is the performance of Escamillo, courtesy of Teddy Tahu-Rhodes. Granted the role is very promises-more-than-you-can-deliver sort of role, and one where it is hard not to ham it up a notch. Rhodes is nice vocally I give you that, but his presence is very uncompelling, I missed the confidence and swagger required for the role.Flaws aside, the production looks great, the costumes look lovely and the scenery and backdrops have a true sense of authenticity. The high definition still is promising as is the sound. The choreography in the preludes is inspired and very confidently performed.Musically, this Carmen is outstanding. There is some true Spanish flavour in the orchestration, and Nezet-Seguin's conducting one of the more electrifying conducting jobs since Kleiber or Abbado. The chorus, particularly in Les Voici, are also excellent.The principals are outstanding. For me the standouts were Keith Miller as Zuniga, a unbelievable portrayal and one of the better ones of this role I've seen, and Elina Garanca(replacing Angela Gheorghiu) as a very seductive, flirtatious, sexy yet very icy and controlled Carmen, even attempting the trills and ornamentations written in the score and very well.Roberto Alagna is also solid as Don Jose, though I do think he is more believable showing his sympathetic side than his darker, tormented side. His acting is magnificent throughout, his french diction faultless and the voice intelligently used generally, but he can go sharp under pressure in the more dramatic passages and he sadly cracks on the B flat in the Flower Song, which was otherwise a deeply felt rendition of the aria. Apparently he did have a cold, so that does explain things if true.I do consider Micaela a flat character, though her act three aria Je Dis Que Rien M'Enpouvente is very poignant. Barbara Frittoli does sing and act beautifully, even if a tad mechanical at the start, and her chemistry with Alagna is believable, vs all this she doesn't quite go the additional mile to create Micaela more credible than she already is.Overall, not flawless but one of the better Carmens I've seen. 8.5/10 Bethany Cox


This production of Carmen, from earlier this year, was shown on PBS. I liked the sets: the opening stage with the troops lounging around their post, a chain-link fence behind them with some posters stuck on it worked very well for me. The set revolved, which made Carmen's getaway stage more enjoyable. The costumes were also good, in early-20th century style.The singing was variable. Roberto Alagna was magnificent as Don Jose, perhaps the greatest I have ever heard. "Si tu m'aimes, Carmen" from Act IV was unbearably poignant. Barbara Frittoli, not the best Micaela, had some nice moments, as did Keith Miller as Zuniga. Teddy Rhodes was a mediocre Escamillo. Elina Garanca will never be my concept of Carmen: She gets around the scene athletically enough, and sings well, but she is more terrifying than charming. She wears a large curly wig that is a distraction to the viewer, and is all wrong for her coloring. You may wish to go to her many YouTube clips for a better concept of what she can do with a Carmen aria.


This is a brand fresh production of Carmen but it is about as traditional as it is possible to be. Richard Eyre, the director, seems to have one eye on the coach parties for this, the world's most famous opera. Even within its own limited terms of reference it is a failure. It is under-directed by Eyre and there is no attention to detail.The production is not helped by having Elina Garanca in the game role. The Latvian ice maiden makes an unlikely Carmen even in a curly brunette wig. She is just not sexy, even when she is extracting an orange from the depths of her ample bosom. I could tell particularly when she is extracting an orange from the depths of her ample bosom.On the positive side, Roberto Alagna is an effective Don Jose and Barbara Frittoli's diffident scene presence, for once, works in her favour in her role of Michaela. Teddy Tahu Rhodes does not impress as Escamillo although, apparently, he took the part at short notice.Pehaps I could mention that Carmen is my least favorite opera. That does not mean that I never play it. Read my review of the 2006 Berlin production to search out what can be done with this opera with just a tiny imagination.



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