ENB company premiere: Johan Inger's Carmen, Sadler's Wells, 27 March-6 April 2024

[Henry]

Carmen wore a red dress.

[LinMM]

And 🤔

[alison]

Definitely too many stabbings for me right at the moment   In retrospect, I think I should have left at the interval.

 

BTW, can someone please tell me where ENB are currently hiding their cast sheets?  It used to be the blog, I believe, but I searched for "blog" on their website and nothing came up.  Spent 20 minutes searching anywhere which seemed suitable, but managed to get nothing more than the leading half-dozen dancers, which I already knew anyway.  Surely if they can put up two pieces of paper showing QR codes they could equally well put up one and one cast sheet, and save patrons a lot of hassle.  Seems disrespectful to the supporting dancers not to have an easy way of crediting them.

[Amanda Liu]

15 minutes ago, alison said:

Definitely too many stabbings for me right at the moment   In retrospect, I think I should have left at the interval.

 

BTW, can someone please tell me where ENB are currently hiding their cast sheets?  It used to be the blog, I believe, but I searched for "blog" on their website and nothing came up.  Spent 20 minutes searching anywhere which seemed suitable, but managed to get nothing more than the leading half-dozen dancers, which I already knew anyway.  Surely if they can put up two pieces of paper showing QR codes they could equally well put up one and one cast sheet, and save patrons a lot of hassle.  Seems disrespectful to the supporting dancers not to have an easy way of crediting them.

https://www.ballet.org.uk/blog-detail/daily-performance-casting-for-carmen/

[Irmgard]

I have now seen two casts of ENB’s new production of “Carmen”, on Wednesday 27 March and Saturday 30 March (matinée).  Although the dancers give powerful and committed performances, I have a few issues with the production itself.  Firstly, knowing every note and word of Bizet’s opera makes listening to this version rather frustrating as it jumps about so much and I do not find it as rhythmical.  Not having heard the Shchedrin arrangement for many years, I wonder if it is quite as disjointed as this one, with the added soundscapes breaking up the flow of the music even further.  I particularly miss the wind sections, both brass and woodwind, which have been written out of this. However, the remaining members of the wonderful ENB Philharmonic attack the score with gusto, particularly the augmented percussion section. 

 

Secondly, my heart always sinks when choreographers of today resort to making the dancers run around the stage or roll around the floor for no apparent reason, as it makes me suspect they have run out of choreographic steam and are just keeping the dancers busy. This is certainly how I felt about sections of Johan Inger’s choreography which, on the whole, is no challenge for the ENB dancers who are so accomplished in any style of choreography.  With Inger coming from a classical ballet background, I was disappointed that he did not give Carmen and Don José a more intimate pas de deux to the gorgeous melody of the aria “La fleur que tu m’avias jetée” in which José expresses his love for Carmen (Bizet was a master at portraying character through music).  Instead they spent most of their time skirting around each other, barely touching.  Likewise, the beautiful entr’acte (minus its lovely flute solo) which precedes Act 3 in the opera, representing their night of passion, and which was used for the iconic pas de deux by Roland Petit, here accompanies a rather naïf dance for Don José, Carmen and the Boy, supposedly Don José imagining married life with Carmen. 

 

Rentaro Nakaaki, whose formidable acting and dancing skills I have noticed in classical pieces, as well as in the title role of “Creature”, was an extremely young and innocent Don José, almost a victim, whose violence seemed almost accidental, especially the murder of Zuniga, one of his rivals for Carmen.  As Fernando Carratalá Coloma played him in a similar way, I assume this is Inger’s take on this character, at odds with both the novella and the opera in which Don José is known to have a violent temper, having had to flee from Navarre to Seville after maiming or killing a man in an argument (and not over a woman).  Inger seems more interested in Don José than in Carmen, making him much more prominent.  The wonderfully dramatic music for the card aria in the opera in which Carmen accepts her fate that she will die at his hands is here appropriated for an angst-filled solo by Don José.  Nakaaki’s dancing was particularly powerful and expressive in this, as it was throughout, and there was a palpable chemistry between him and his very sensuous Carmen, Minju Kang, who danced her unchallenging choreography with great style and a ballerina sheen.  For sheer animal magnetism, Erik Woolhouse stole the show with his powerhouse Torero, dancing with a dynamism and preening arrogance which was electrifying.  The Cigarreras were a delight whenever they appeared, sassy in their ra-ra skirts and adding some much needed colour to the rather dull set consisting of black monoliths which they had to manoeuvre throughout the ballet (another of my dislikes is dancers having to do the work of stagehands). It was a shame they had to morph into anonymous shadows in Act 2, dressed in black suits and masks, as did the gentlemen. I have yet to work out why the gentlemen are listed as Dogs, apart from one of them howling in pleasure in Act 1 as the Cigarreras flaunted their physical charms.  Likewise, I have yet to work out the purpose of the Boy, winsomely and winningly performed by Francesca Velicu on opening night: is he perhaps Don José’s conscience (much like the character of Micaela, created by Bizet)? 

 

In the second performance I attended, as mentioned, Coloma took on the role of Don José, subjugating his naturally vibrant stage personality to fit this production but nevertheless dazzling with the fluidity of his dancing.  His Carmen was the magnificent Emily Suzuki.  Something I have always admired about Suzuki is her ability to completely inhabit any role she is given, along with an innate musicality so that every phrase of the music is perfectly expressed by her movement.  And here was a Carmen who was most definitely a free spirit and not to be possessed, albeit a fatalist who accepted her death unflinchingly and with dignity.  I only wish the choreography had matched her exceptional talents.   I would also like to mention Breanna Foad as the Boy in this cast, who once again impressed me not only with the purity of her dancing but also her increasingly confident stage presence.  

 

I will be seeing the other two casts this coming Thursday and I look forward to experiencing what they bring to their roles.  Although I have reservations about the piece itself, there is no doubting the very strong dramatic ability which exists at all levels of the company and which is being allowed to shine this season.

 

[LACAD]

 

Just chiming in with my thoughts from last night’s performance led by Minju Kang and Rentaro Nakaaki.

 

I have seen this production before, Spain’s Compañia Nacional de Danza released a recording online a few years ago. My opinion overall has remained rather unchanged over the piece — its dark intensity is compelling, but impact begins to wear thin in the second act. 

 

I enjoy the fascist sterility of the look of the work, and the tenebrous, graphic choreographic style. Some scenes are quite brilliant — the cigarreras in their sweatshop, Don José’s first solo after receiving Carmen’s flower. In one highly effective scene Don José hunts through Seville calling out for Carmen, soon the women he harasses while looking for her begin to hiss Carmen’s name at him and hunt him like a pack. There’s a clear reference to sexual dynamics in Spain, recalling the recent La Manada gang rape of a woman in Andalusia — coincidentally the region in which our story takes place. 

 

The second act is much more conceptual and diluted. As we enter Don José’s psyche things become patchier, reflecting his darkening mental state. One overly long ensemble sequence is especially superfluous. We’ve gone from a cool neo-noir to a total halt of the action. The second act also highlights the central issue with this adaptation — the piece never humanises Carmen above an obsession. Don José is by no means a hero, but seeing Carmen solely through his possessive eyes flattens her humanity. Even in death Carmen simply floats away into an ephemeral light. Like the women before her throughout Spanish history, her death is a footnote, the consequence of machismo. The figure of the Boy as a young Don José is an interesting addition to the story conceptually, but even his role as some sort of moral litmus test cannot save the work’s flimsy approach to a topic of such importance. 

 

Rentaro Nakaaki’s Don José isn’t the sloppy man we’re used to seeing. He is young, impressionable, and cripplingly unconfident — a veritable incel. Nakaaki is a compelling young talent in the company, he’s highly watchable and has a magnificent command of the contemporary style. Minju Kang stretches her acting chops as much as she can within the confines of Inger’s Carmen. Erik Woolhouse is brilliantly campy and bursting with sex appeal as the glittery Torero. Overall the company are convincing as dramatic performers, especially the vibrant women of the corps de ballet. 

 

The philharmonic are typically in great form, zipping through Rodion Schedrin’s orchestrations. Schedrin’s score was originally made for Fernando Alonso’s adaptation of Carmen created on Maia Plisetskaya, leading to a strange mix of Cuban instrumentation and soviet jazz. The new electronic elements by Marc Álvarez are effective in building a smokier mood, but one very long sequence filled with references to Bizet’s original melodies begins to feel like filler.

 

Overall by no means a bad work, but disappointingly quite flat. I sincerely hope this doesn’t tarnish the reputation of the new director, after all commissioning a work that received the Prix Benois de la Danse would typically point to success. Unfortunately, in spite of a talented company of dancers, the work never reaches a boiling point. 

[alison]

BTW, can anyone confirm if ENB have yet started putting up an actual cast list, rather than just a QR code for it?  #digitalexclusion

[SheilaC]

1 hour ago, alison said:

BTW, can anyone confirm if ENB have yet started putting up an actual cast list, rather than just a QR code for it?  #digitalexclusion

I emailed the company last night about the lack of printed cast sheets.

I have just had a reply that states that at every performance there is a small number of printed cast sheets available on request at the theatre. That was not the case at the performance I attended (the Thursday matinee a week ago) as I asked several members of theatre staff, to no avail, and overheard other people making the same request.

However, I hope this information will be useful to other forum members attending any of the remaining performances.

[alison]

Thanks, Sheila.  On the other hand, that doesn't actually solve the problem I was asking about, which is that if you don't have a QR code reader you are stumped.  That could easily be remedied by replacing one of the QR posters, of which there have been several per floor, in my experience, with a printed cast sheet.

[Emeralds]

They used to tape a cast sheet to the wall on each auditorium level. Has that disappeared now?  That's not good. Rather than giving away a printed cast sheet to each person who asks, they should pin them up.

 

You can get the full cast list from the ENB  website without using a QR code on the day, but I agree it's not great if one doesn't have a smartphone or internet access at the theatre. The cast list link is: 

 

https://www.ballet.org.uk/blog-detail/daily-performance-casting-for-carmen/

Edited April 4 by Emeralds

[SheilaC]

In my email to ENB, Alison, I did also request them to put printed cast sheets on the walls, like other companies, but the reply did not mention that.

[alison]

1 hour ago, Emeralds said:

They used to tape a cast sheet to the wall on each auditorium level. Has that disappeared now?  That's not good. Rather than giving away a printed cast sheet to each person who asks, they should pin them up.

 

It had when I was there, hence why I was asking whether that was still the case.

[Emeralds]

46 minutes ago, alison said:

 

It had when I was there, hence why I was asking whether that was still the case.

It feels a bit slapdash- the system of caat sheet on the walls and QR codes or website cast lists has been going on for over a year. Surely they could invest in a few inexpensive boards (like what ROH has) to slip a new sheet into at every performance.  I wonder if the afternoon shift forgot to print them out. 

 

If they had a board or stand at every level then it would prompt the front of house staff to remember to get them printed off.  Even just one cast list on one board on the ground floor is better than not having any,if they can't afford three. 

[LinMM]

It appears that Fernando Carratala Coloma is leaving ENB as they have announced it’s his last performance …in Carmen…tonight. I don’t know whether this was generally known or not. They don’t say where he is going. 

[Emeralds]

1 hour ago, LinMM said:

It appears that Fernando Carratala Coloma is leaving ENB as they have announced it’s his last performance …in Carmen…tonight. I don’t know whether this was generally known or not. They don’t say where he is going. 

Thank you @LinMM. Just saw it a bit earlier on Facebook. This has come out of the blue! I put it on under News in case anyone knows more. Too short notice and unfortunately on a rail strike day- I'd have arranged to get there somehow if I'd known at least 2 weeks ago. 

[Sim]

Hi all.  There is a separate thread now to discuss FCC's sudden departure.  Thanks.

[Emeralds]

If anyone is able to go today (matinee or evening or both), do report back! Whether  it's just a few lines, or a few paragraphs! 

[annamk]

 

@Irmgard did you see the other two casts  ? I am interested to know whether your opinion of anything was changed ?

 

I only saw one performance which was the Bueno/Frola cast on Saturday afternoon. 

 

I'm totally unfamiliar with Inger's choreography and on the basis of what I saw yesterday I wouldn't rush to see anything else of his, although I caveat that with finding it tricky to be sure on the basis of a single viewing. It felt as though there was a lot of repetition in the not terribly attractive, unballetic movement, much running around, much rolling on the floor in Act 2. The pdd for Carmen and Don Jose is nothing like the steamy affair in Petit's Carmen seen here in this extract - although I don't know the Petit production and it may be that this is the only interesting few minutes.

 

 

The staging is stark and simple but quite effective, particularly the use of the mirrors on the back of the panels and the lighting is dramatic. I liked the costumes for the women.  I don't think the story is particularly clearly told but there are some striking moments, particularly the shooting of Zuniga. 

 

IMO Ivana Bueno and Francesco Gabriele Frola gave magnetic and powerful performances. The roles of Zuniga and Torero yesterday were dramatically danced by Daniel McCormick and Gareth Haw.  I didn't feel that the character of the Boy added anything. 

 

I'm not overly familiar with the opera music so I wasn't bothered by the version presented here - I quite liked the percussion section - but overall it wasn't as memorable as the opera score. 

 

I enjoyed it more than I expected to although perhaps that's a reflection of my low expectations. I might go and see it again if it was revived but overall I feel ENB have more to offer than this. It felt like a rather "thin" for a full length performance. 

 

[Sophoife]

I'm heading up to Sydney to see AusBallet's presentation of this production next week. I must say I'm not filled with confidence after having read all the reviews (handy to be helping with the Links!) of ENB's presentation.

 

As always I'll try to make up my own mind, but calling it "Bizet's Carmen " (which AusBallet is doing) and stuffing the music around has already got me a little apprehensive.

[alison]

Good luck, Sophoife.  Of course, different company, different venue, different country - it might be different.

[Sophoife]

The lead pairs learned their roles in London with ENB which was a great money-saver.

 

The Sydney Opera House Joan Sutherland Theatre is a cramped venue with barely any wings or backstage area. Lucky this production doesn't seem to have major scenery then.

 

Haven't heard much on social media from the dancers, waxing lyrical...

 

We shall see, @alison, we shall see.

[Emeralds]

11 minutes ago, Sophoife said:

The lead pairs learned their roles in London with ENB which was a great money-saver.

 

The Sydney Opera House Joan Sutherland Theatre is a cramped venue with barely any wings or backstage area. Lucky this production doesn't seem to have major scenery then.

 

Haven't heard much on social media from the dancers, waxing lyrical...

 

We shall see, @alison, we shall see.

They have those blocks at the back which the dancers move themselves on the stage ...hopefully the company has checked they fit the venue OK!  Would be curious to know what you think of the production, Sophoife! 

[Irmgard]

I returned on 4 April to see the last two casts, both making their debuts.  On my third and fourth viewings, I found much to enjoy in the performances but I was, quite frankly, tired of the relentlessly percussive rendition of Bizet’s beautiful music by the evening and found nothing new or inspiring in the choreography.  It also occurred to me that, by omitting any reference to the smuggling ring, so important in the novella and the opera, Carmen’s character is short-changed.   Both Mérimée and Bizet make it clear that she is the driving force and brains behind the operation so that, although not always falling in love with them, as she does with Don José and the Torero (at least in the novella), she carefully chooses her prey to ensure the success of her schemes rather than flitting from one man to the next for casual sex, which is what Inger’s take on her seems to be.

 

That said, the amazingly chameleon-like Erina Takahashi, who appears to be able to take on any role and any choreographic style with consummate ease, gave us a thoroughly independent Carmen who was not to be messed with, revelling in her power over men and flaunting her sexuality, but nevertheless showing her darker side in by far the most explosive reaction to Manuela’s taunts.  And the defiance of her stance before Don Jose stabbed her said everything about her Carmen.  Indeed, it was the moments of stillness between her and her Don Jose, Aitor Arrieta, which told the story most clearly.  In amidst all the quirky movements of the central pas de deux, they suddenly stood still and faced each other.  The way their bodies seemed to yearn towards each other, never taking their eyes off each other, spoke volumes about their desire/love for each other, which the steps did not.  And it was Arrieta, slumped against a monolith after having stabbed Carmen, who was the only person to break my heart out of all the four performances I saw.  He was truly a broken man.  This performance also benefitted from the darkly dangerous Zuniga of Ken Saruhashi who sent shivers down my spine during his various confrontations (and the way Zuniga is manipulated by the other men after he has been stabbed is a real coup de théâtre in this production), and from Junor Souza as the Torero.  His interpretation was very reminiscent of Mérimée and Bizet, being charming rather than arrogant, and more happy-go-lucky than the others, but with just enough ego to preen himself wherever there was a mirror.  Fernanda Oliveira, in a role frankly unworthy of her formidable talents, brought a welcome dramatic depth to the Boy, particularly moving in her reaction to Don Jose’s murder of Zuniga. Takahashi, Arrieta and she also made the most sense of the pas de trois when Don Jose imagines life as a family, but I still find this an odd use of this beautiful piece of music.

 

In the evening, Ivana Bueno made a stunningly assured debut as Carmen, completely in command of the choreography and of the stage.  What I love about Bueno is the apparent inner calmness and strength she brings to whatever she does, allowing the audience to sit back and enjoy her beautifully clean technique and her joy in performing for us.  Her Carmen benefitted from this in being the sunniest of the four but capable of darkness when required by the story.  Her Don Jose was Francesco Gabriele Frola who was the darkest in temperament of the four casts, and the most sure of himself so that watching him descend into almost madness when Carmen rejected him was painful if not heartbreaking, and showed what a wonderful dramatic dancer he is, aside from his formidable technique.  And, much as I feel the central pas de deux is not particularly interesting choreographically, Bueno and Frola definitely made it sizzle with their palpable chemistry!

 

In all, I would certainly watch this production again if there were new casts to see, but I really feel that ENB needs a more challenging version to show off the high level of dramatic and technical skill within the company.

[annamk]

Interesting to read (thanks to the Links today) that the critics reviews from Sydney for Australian Ballet's performance of Inger's Carmen are noticeably more positive than the press reviews here for ENB.  

[alison]

Glad to hear it, for Sophoife's sake.