This, and all my Geocities web sites are for informational purposes only. They are for the use of anyone who loves or is interested in opera, and contain information that anyone can Google. |
| Carmen |
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| Georges Bizet |
| Productions of Interest |
| The Glyndebourne Touring Opera have really come up trumps with their steamy production of Bizet's Carmen-Review |
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| Teatro Regio - Parma |
| Photo: Studio Lepera, Tommaso Lepera |
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| Will refind the souce late for this Carmen |
| SF Opera |
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| With a patchwork cast inhabiting Jean-Pierre Ponnelle's well-worn 1981 production, the current revival constitutes schedule filler of the first order. - Review |
| Photo: Andrea Tamoni Olga Borodina had been signed up for Carmen two years ago, when she appeared with the company in Samson et Dalila, and as she rarely sings in Italy, her appearance was eagerly anticipated. However she canceled on arrival in Milan a week before the opening, when she discovered that Carmen was to be performed in the version with dialogue, which she claimed not to have sanctioned. Clifton Forbis, the intended Don Jos�, had canceled earlier for personal reasons, and Patricia Racette, the scheduled Mic�ela, also pulled out. To crown the disaster, the company was forced to cancel the opening performance because of a strike. |
| La Scala |
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| "ADRIENNE DANRICH will be singing 8 performances of Micaela in Carmen with San Francisco Opera in their 2005-2006 season." (source needs an update to 06-07?) |
| Some photos from this source. |
| 1959 The Opera Guild donated a new production of Carmen. When the prelude was struck up, the curtain rose to reveal a special show curtain of fierce waves of red, pink and black. That it looked like an Abstract Expressionist view of a can-can is beside the point because at the same time it suggested all the energy, blood and tension of the story. Architects of the production were Howard Bay � like Jenkins a veteran of Broadway � who designed the sets and costumes, and Yannopoulos, who did the staging. Their intent was to create a more realistic atmosphere than one often encounters in opera, and they took Carmen back from the standard 1840 to the war-ravaged 1820�s where she really belongs. The grisly shadows of Goya�s Spain hung over Bay�s costumes and Yannopoulos populated the stage with a wider variety of �real� people than one sometimes sees. The ragamuffins were more rowdy and disheveled than ever. But Bay�s sets were not in the same vein of realism: devilish fancy, instead was the thing the scenery providing a rather fantastic counterpart to the action. The effect was extremely brilliant in the first act with its tall clock tower, somewhat questionable in the last with its arena taking off like a slow rocket. Possibly this leave-taking was designed to heighten Don Jose�s derangement. |
| Stage director-Dino Yannopoulos
Settings, costumes and lighting designed- Howard Bay Special costume assistant-Ann Roth Chorus Director-Vincenzo Giannini Choreographer -Willam Christensen |
| Bloomfield - 50 Years of SFO |