Carmen

CARMEN tells the story of the naive soldier Don Josè who abandons his childhood sweetheart and deserts the army when he falls under the alluring gypsy's spell. When he loses her love to the dashing toreador Escamillo, the scene is set for jealousy and vengeance. Bizet's seductive melodies and fiery Spanish rhythms conjure a world of desire, defiance and doom, in some of the world's best loved music, including the Habanera, Seguidilla, Flower Song and Toreador Song.

This awe-inspiring production by one of Australia's most daringly theatrical directors, Gale Edwards (The Boy From Oz, La Boheme), and award-winning designers Brian Thomson (The Rocky Horror Show, La Traviata on Sydney Harbour) and Julie Lynch (Travesties, La Bohème), features richly costumed soldiers, smugglers, cigarette girls, urchins, matadors and flamenco dancers swirl across the luminous set, lit by fireworks.

CARMEN is the third opera that internationally acclaimed director, Gale Edwards has created with Opera Australia. Edwards has brought this version of Carmen forward to mid 20th century Spain and it packs a punch! Austalia’s most daring set designer, Brian Thomson who masterminded the design for La Traviata, has once again brought a magical set design to the harbor-top stage for Carmen. Award-winning costume designed, Julie Lynch is responsible for the lavish costume designs inspired by 195o’s Hollywood glamour with, of course, a Spanish flourish! Starring in this production are internationally-renowned mezzosopranos Rinat Shaham in the role of the glamorous gypsy, Carmen opposite Dmytro Popov as Don José and Andrew Jones as the Toreador, Escamillo.

Conducted by Brian Castles-Onion
Directed by Gale Edwards
Choreographed by Kelley Abbey
Starring Rinat Shaham, Dmytro Popov, and Andrew Jones
Sung in French
2 hrs 40 mins including one intermission

“Opera on Sydney Harbour was a resounding triumph. Its future as one of Sydney’s landmark events must surely be assured.” The Australian

“Last year, Opera Australia’s first outdoor production at Farm Cove’s water’s edge seemed bold, quixotic, decadent, and of doubtful sustainability…With this year’s production, equally successful as spectacle, and, more surprisingly, as opera, the logic and historical continuity of such a celebration of place through performance became apparent.” The Sydney Morning Herald