This was brilliant! And I love the historical setting too. No need to compare them harshly. This performance has it's own twist and allure, I think the amount of people on stage gives an intense dramatic feeling. Elina was amazing as she always is, and brings such sexiness to Carmen.
Don't forget she is from Latvia and has blonde hair of her own. But Carmen is all about sexual power and the Met version from 2010 does it in spades! ua-cam.com/video/8GD63RuQduc/v-deo.html
And... What a man!... She's gorgeous and, most of all, she takes breath so lightly, going with the rythm, that we can't hear any effort, in each word of lyrics and in the whole music!... Superbe, the best live version❣️
I will always prefer opera in it’s original style and historical setting / context. That being said, I find this particular modern adaptation to be intriguing, interesting, and well done. (The finale of this adaptation is absolutely incredible, I recommend giving it a watch!)
Elina Garanca is at the present time not only the best Carmen but one of the best mezzo of our time. She was spectacular as Eboli last year in Paris. Looking forward to hear her Amneris next year.
This is the best staging of Carmen I have ever seen. I know the opera v well & have seen the greatest mezzos sing it, but always in the standard mise en scéne. This is so brilliant, so dramatic, colourful & faithful to Bizet, I feel I now understand his perfect opera better than ever! 🌹😍
Dzięki za taką pieśń i WSPANIAŁE WYKONANIE dla ŚWIATA to jest bardzoładna i przyjazna dla ludzi emocja oraz spokojnego dnia bez problemu w interesie Polski i Europy spasiba spasiba dla ludzi senk JU Tha a n k y O v danke
Little girl, she is the furthest from "Butch" that a female can get and "NO" she does not top them, she entrances them with her true feminine wiles!! She's merely exerting the natural power that all real women used to know how to command! Take lots of notes from her performance,, maybe you'll grow up to be a "real woman", instead of the "controlling feminist harpy" it appears you now want to be!
y tan absurda; se ha puesto de moda prostituir lo clásico en pos de una seudomodernidad de mierda que artísticamente no vale un pimiento… Pero si lo dices en voz alta, saldrán todos los zurdos pijoprogres de mierda afirmando que eres un ignorante.
IT IS interesting when u c a 'modern' version set & style when the music is opera I almost dont notice i never liked it as a rule & the uniforms & older dresses costumes make the period piece come alive but damn I LOVE THE MUSIC SO MUCH I CAN LIVE WITH IT
It is difficult not to become completely transfixed by this woman, one of the greatest, opera, especially at this level can certainly wash the eyes and heart, though I would have preferred a more traditional setting..
Bonita obra Lourdes, lo que no tengo claro es si es esta o Carmen la se rueda en la fabrica de tabaco de Sevilla . no lo tengo muy claro pero las dos son dos piezas muy buenas. Gracias por subirla , he disfrutado de lo lindo. Buenos dia que empiezo el dia con buen pie.
Who is the stage director? FINALLY a "modernized" production which makes sense, especially in the little details - for which Garanca is of course absolutely perfect, not to mention her divine singing technique!
@Sevinj Huseyn - I liked the Met production a lot too. It did makes sense, the words of the libretto still made sense, yet it was interesting and had some great acting. Richard Eyre respected the words of the libretto. I'd not say Met's is the only production that makes sense, old productions before the current "regietheatre" made sense (although some of them could use better acting like in the Met's production), ROH production makes sense even if it makes Carmen look like a whore, but it's a matter of interpretation. The vast majority of contemporary productions don't make sense, they just seem to serve to stroke the ego of the director and to shock.
You're the kind of clown that wants Shakespeare done with a Brooklyn accent, so you can feel goodaboutit, NO thinking or imagination of the historic or cultural setting needed!
@@EarlT357 I think there's some kind of misunderstanding here. Everything is relative - I dislike most contemporary productions, but this one seemed to me COMPARATIVELY tolerable. I don't know the Met's production so I can't discuss it, but I know "Carmen" very well and have composed two operas of my own. I know for instance that the premiere of "Carmen" was just four years after the brutal suppression of the Paris Commune by force of arms, and that this must be the actual background for the "Liberté!" chorus at the end of Act 2. How many people in the audience of "Carmen" know this?
The Met production will always be the Carmen of a lifetime! But I do love Elina’s talents enough to enjoy this version too, especially the final scene.
Oh, dear lord, not another one of these postmodern relativistic nightmares. Elina is the perfect Carmen, but this eyesore of a set needs a dagger through its heart.
Oh, dear lord, not another one of these keyboard warriors who watched a five minute snippet of an opera on UA-cam and think they know everything about the entire production based on it...
@@peaceblossom8 Hmm, let's see...the director of this production was Calixto Bieito, the set designer was Alfons Flores, and the conductors for the March to July 2017 run at Opéra national de Paris were Mark Elder , Bertrand De Billy, and Giacomo Sagripanti. A full presentation of Carmen under this team's direction, complete with that oh-so-beloved phone booth, is available at ua-cam.com/video/WM2hdW319dQ/v-deo.html . But, yeah, peaceblossom8, I know what you mean...
@@kiomarv Thanks for the link. Might well watch the entire thing. I'm just honestly annoyed by people who verbally shit over productions they don't like. Everyone is entitled to their views and to their own taste, but I simply don't see the need for such harsh language. People have put thought and love and labour into this, and then others take a look and decide to trample all over it, very often before even trying to understand what a stage director might have been trying to say with this. If you don't like a more modern production, that's perfectly fine, but why not simply go and find a more traditional one? It should not be difficult at all seeing that Carmen is one of the most performed operas in the entire world.
Her voice is amazing. I just don’t understand this obsession of lyrical theatres with modernising the show. Opera is a traditional genre by definition, and it’s highly unlikely that it will attract more fans if it puts on some fake modern clothes. Its core essence is traditional, opera is traditional to the bone, and that’s why the overwhelming majority of its fans love it. If you don’t like opera, I find it hard to believe that you will go and see Carmen, Il trovatore or Traviata because the stage looks modern and the characters have tattoos (btw I have tattoos myself, so nothing against them).
I wouldn't say the purpose is to attract more viewers (though that may also be part of it perhaps) but just due to the constant need to reinvent and put your own original stamp on the production. It's a way to make this version their own. Every production is certainly different and there are thousand directorial choices even with a traditional setting, but this one will stand out more in memory as being unique. And by setting the story in modern times you are saying that it is essentially timeless. This production makes you think of the Carmen you might have met in your real life, perhaps the person crossing the street just now. Personally I find these type of settings intriguing when done well. It's a new perspective on the story and the characters. Sometimes it's funny when there's a mismatch with the lyrics (such as a character singing a whole aria about taking revenge with his sword while he's holding a gun), but it's opera, we have to suspend our disbelief. So no, I wouldn't see the show just because they have tattoos, but the characters having tattoos will catch my interest a little more than the classical production because I'd wonder why exactly the director made that choice, what does that say about how he views the characters, and what else will he changing to bring his vision to life. The beauty of opera is that we can always have our beloved classical versions to go back to, and there's always room for new ones and for experimenting.
Can you give me the full piece of Carmen? Please I'm looking for this piece of the 16 july 2017 with Elina Garanca in Paris, I can't find it!! Some help? Please 😅
Ⅰ got excited by unprecedented performance. Surrealism！Ⅰ have never seen such a opera Carmen．She is the sexiest Ⅰ have ever seen. This combination is experimental and interesting, I think . No bad, off course. They are good at acting. But Ⅰ would not like to see this stage with my daughter and son. When seeing ,one is better than three.
I like the modern adaptaion of the scenery, acting etc. Wgen I saw a blonde Carmen, I thought it wouldn't work. But having a dark haired Carmen, just becausecshe is a Latin type is just a stereotype, as some Latin women are blondes, not all sultry brunettes with flashing dark eyes and olive skin.
She does the role of rough working class girl, Carmen, on the job at the cigarette factory, with all those men she gets quickly bored with very well. Carmen is a very dominant female character, so itctakes a strong mezzo soprano voice like hers, to carry off this role well. She has a strong, dominant female voice that doesn't soundctoobpretty and feminine, as Carmen was a pretty rough, tough, working class chick. But, despite its power, her strong lower mezzo soprano voice sounds beautiful. I lije her rendition of Habanera.Very realistic, authentic sounding and good acting, too.
Menuda diferencia con el montaje del MET, pero Elina está bastante a la altura de las circunstancias y parece que se mete en el papel de esta Carmen anacrónica con gran salero pese a lo atroz y surrealista de la puesta en escena. Al menos la cabina telefónica es auténticamente española, ahí han estado acertados.
Carmen is also meant for vulgarity. It talks about sex, murder, jealousy, betrayal, infidelity, the so-called 'femme fatale'. It was considered vulgar and very offensive in 1875. In fact, even by today's standard, some scene might still be considered obscene or offensive (e.g. Michaëlla got sexual harassed by the whole legion of soldiers in the first scene). Many family-friendly versions tone down or censor many small details (yes, to make it more family-friendly). I do prefer this modern version as they did not censor anything. It gives more depth to Carmen character, making her more human rather than just being a "beautiful seducer".
There are way too many people on the stage, to serve any dramatic purpose. If this opera should be modernized in any way, it should be by narrowing the number of people to just a handful, so we can focus on the plot. This is a mess.
I agree. This is far too crowded. It's not very attractive in a production like this, and I'll bet it wasn't very comfortable for the performers. That stage was probably an oven, with so many people present at once.
...you realize that those "too many people" are the choir? The choir has a part to sing in this number. As intended by the composer. And "Carmen" requires a big choir because it has a big orchestra. You can't just get rid of half the choir, it would sound all wrong. All those people need to be there in order for the music to sound right :D
@@logandowns1288 it's a completely normal amount of people. It's the choir, all of them are needed in this scene. They're professionals and used to being this close to another... There's really nothing special about it.
peaceblossom8 I’ve been part of a chorus before, and I do understand that Carmen is traditionally handled with a moderately large chorus, but this is a contemporary adaptation of Carmen, and I personally think the stage is being overcrowded for what they’re attempting with this production. It’s just my opinion.
She just dominates the stage.
And she can ACT. Amazing voice and a sense of humor!
She is the stage.
Una de las mezzo más grandes de ahora y de siempre.
What can we say? Whatever the setting, the woman delivers and she keep us loving and listening to Biizet.
NObody sings it better than Elina Garanca! She is the finest, the best, the crème de la crème!
only Elina could've pulled out this adaptation of Carmen. literally all the versions she's done are *chef's kiss*
This was brilliant! And I love the historical setting too. No need to compare them harshly. This performance has it's own twist and allure, I think the amount of people on stage gives an intense dramatic feeling. Elina was amazing as she always is, and brings such sexiness to Carmen.
Wait, is this the same woman as in the traditional métropolitain opera version where she has brown hair?
Yes :)
Oui)
Eeeyep.
I don't object to a blond Carmen, but that telephone booth, now...
Don't forget she is from Latvia and has blonde hair of her own. But Carmen is all about sexual power and the Met version from 2010 does it in spades! ua-cam.com/video/8GD63RuQduc/v-deo.html
@@reymohammed7040 You are right ! Imagine if they will paint again the dress of Monna Lisa!
It astonishes me how she can keep a note going, keep up with the lyrics and write with lipstick on a man's chest at the same time
Indeed - she seems to be a good example for multi-tasking. ;-)
elina's just that iconic
Practice, practice, practice!
I love her as Carmen. See her and you understand the power Carmen had, and you like it.
And... What a man!...
She's gorgeous and, most of all, she takes breath so lightly, going with the rythm, that we can't hear any effort, in each word of lyrics and in the whole music!...
Superbe, the best live version❣️
I will always prefer opera in it’s original style and historical setting / context. That being said, I find this particular modern adaptation to be intriguing, interesting, and well done. (The finale of this adaptation is absolutely incredible, I recommend giving it a watch!)
Love Elina's voice !!! That sensual timbre I'm beginning to value it even more.
She's the best mezzo of our time.
Oh what a gorgeous tease she is , no matter if blonde or brunette , she is great.
Muy buena cantante y actriz. Le pone picante a la escena. Mi Carmen favorita.
What an astonishing powerful voice!? Thank you.
ELINA is a very sensual blonde CARMEN. And her singing is just gorgeous.
She' a very sensual Carmen. Period. Costumers could put her in a potato sack and dye her hair neon green and she'd still nail it.
Garanca sempre bravissima, molto sensuale, bellissima voce.
I love the way she plays with us,
making it fun to be teased..!
Великолепная Элина, шикарная постановка, Аланья выше всяческих похвал!!! Браво!!!
Elina IDOLA, GENIA UN GRAN SALUDO DESDE ARGENTINA!!!!!!!
This is just phenomenal.
this is surprisingly good when I've watched real setting version(2010 at MET) for
too many times…more clips pls
Me encanta como acaba y alguien grita “Agua!”
I LOVE THIS SONG
Elina Garanca is at the present time not only the best Carmen but one of the best mezzo of our time. She was spectacular as Eboli last year in Paris. Looking forward to hear her Amneris next year.
Whatever outfit suits a goddess. Magnificent Elina!
MORE DeCOLLETAGE!
Extrordinaire sublime Merci 👏🇨🇵
Wow. Just wow. She is amazing.
Lovable
Peut êêêêêêtre jamaiiiis, peut êêêêtre demaiiiin! 😍😍
Supeeer ! Bravooo ! Thanks !
Great performance Bravo Elina !!!!!!!
Scene or no scene, nothing and no one beats Elina.
Es extraordinaria !
Странно видеть Кармен со светлыми волосами и без розы в причёске. Но это - Элина! Ей можно простить многое.
she is , it what you want 🌹
This is the best staging of Carmen I have ever seen. I know the opera v well & have seen the greatest mezzos sing it, but always in the standard mise en scéne. This is so brilliant, so dramatic, colourful & faithful to Bizet, I feel I now understand his perfect opera better than ever! 🌹😍
Dzięki za taką pieśń i WSPANIAŁE WYKONANIE dla ŚWIATA to jest bardzoładna i przyjazna dla ludzi emocja oraz spokojnego dnia bez problemu w interesie Polski i Europy spasiba spasiba dla ludzi senk JU Tha a n k y O v danke
I love how Elīna is the butch next to these police officers. She tops them all - literally.
Little girl, she is the furthest from "Butch" that a female can get and "NO" she does not top them, she entrances them with her true feminine wiles!! She's merely exerting the natural power that all real women used to know how to command!
Take lots of notes from her performance,, maybe you'll grow up to be a "real woman", instead of the "controlling feminist harpy" it appears you now want to be!
Elina , tenes que venir al Colon 🙏🙏🙏 sos The Voice!!!!
Cantante extraordinaria en una escena absurda.
y tan absurda; se ha puesto de moda prostituir lo clásico en pos de una seudomodernidad de mierda que artísticamente no vale un pimiento… Pero si lo dices en voz alta, saldrán todos los zurdos pijoprogres de mierda afirmando que eres un ignorante.
Élima garance c’est la meilleure
IT IS interesting when u c a 'modern' version set & style when the music is opera I almost dont notice i never liked it as a rule & the uniforms & older dresses costumes make the period piece come alive but damn I LOVE THE MUSIC SO MUCH I CAN LIVE WITH IT
Awesome😮
This is like Hollywood productions. Congratulations to Diva Elina and all singers, stage persons and directors
Director? Directors need to be locked up.
It is difficult not to become completely transfixed by this woman, one of the greatest, opera, especially at this level can certainly wash the eyes and heart, though I would have preferred a more traditional setting..
WOW
Extraordinary. Brava!
Brava! I like this version, so sensual😍😍😍
Did you have the link to watch the full opera please
Très manifique
A beleza existe sim!
Bonita obra Lourdes, lo que no tengo claro es si es esta o Carmen la se rueda en la fabrica de tabaco de Sevilla . no lo tengo muy claro pero las dos son dos piezas muy buenas. Gracias por subirla , he disfrutado de lo lindo. Buenos dia que empiezo el dia con buen pie.
Bravo
Amazing!!! Congrats for video.
Who is the stage director? FINALLY a "modernized" production which makes sense, especially in the little details - for which Garanca is of course absolutely perfect, not to mention her divine singing technique!
No, the Met production made sense in spite of having being updated. This one is just idiotic.
Met production was marvellous, brilliant! Only it makes sense, nothing else @@jewelmarkess
@Sevinj Huseyn - I liked the Met production a lot too. It did makes sense, the words of the libretto still made sense, yet it was interesting and had some great acting. Richard Eyre respected the words of the libretto. I'd not say Met's is the only production that makes sense, old productions before the current "regietheatre" made sense (although some of them could use better acting like in the Met's production), ROH production makes sense even if it makes Carmen look like a whore, but it's a matter of interpretation. The vast majority of contemporary productions don't make sense, they just seem to serve to stroke the ego of the director and to shock.
You're the kind of clown that wants Shakespeare done with a Brooklyn accent, so you can feel goodaboutit, NO thinking or imagination of the historic or cultural setting needed!
@@EarlT357 I think there's some kind of misunderstanding here. Everything is relative - I dislike most contemporary productions, but this one seemed to me COMPARATIVELY tolerable. I don't know the Met's production so I can't discuss it, but I know "Carmen" very well and have composed two operas of my own. I know for instance that the premiere of "Carmen" was just four years after the brutal suppression of the Paris Commune by force of arms, and that this must be the actual background for the "Liberté!" chorus at the end of Act 2. How many people in the audience of "Carmen" know this?
Com’è brava! Potrebbe cantare anche l’elenco telefonico! Sarebbe straordinario anche quello!
Very Nice
I dont know... when it comes to my opinion.. i prefer the real settting of an opera and not a modern style..
So I do. elina is beautiful and great as always, but the ambiose, the feelings, the atmospehere, there isn´t because of the stupit scene.
I agree. I could live with the Met production in spite of updating, but this one is just ridiculous.
filipp721 me too but her voice is so beautiful!
True, also I think the song, acting and etc just fits better at the time it was set originally rather than the present.
The Met production will always be the Carmen of a lifetime! But I do love Elina’s talents enough to enjoy this version too, especially the final scene.
классическая постановка в ее исполнении мне больше нравится, но и эта бесподобна!
Oh, dear lord, not another one of these postmodern relativistic nightmares. Elina is the perfect Carmen, but this eyesore of a set needs a dagger through its heart.
Tariq Marshall multitaskingly gifted 💝
Make opera great again.
Oh, dear lord, not another one of these keyboard warriors who watched a five minute snippet of an opera on UA-cam and think they know everything about the entire production based on it...
@@peaceblossom8 Hmm, let's see...the director of this production was Calixto Bieito, the set designer was Alfons Flores, and the conductors for the March to July 2017 run at Opéra national de Paris were Mark Elder
, Bertrand De Billy, and Giacomo Sagripanti. A full presentation of Carmen under this team's direction, complete with that oh-so-beloved phone booth, is available at ua-cam.com/video/WM2hdW319dQ/v-deo.html . But, yeah, peaceblossom8, I know what you mean...
@@kiomarv Thanks for the link. Might well watch the entire thing.
I'm just honestly annoyed by people who verbally shit over productions they don't like. Everyone is entitled to their views and to their own taste, but I simply don't see the need for such harsh language. People have put thought and love and labour into this, and then others take a look and decide to trample all over it, very often before even trying to understand what a stage director might have been trying to say with this. If you don't like a more modern production, that's perfectly fine, but why not simply go and find a more traditional one? It should not be difficult at all seeing that Carmen is one of the most performed operas in the entire world.
Well done, well done. Applause. The sunglasses make it so contemporary. lol.
It was a very Northern European Carmen, but an excellent Carmen.
😳 talk about playing with fire
Muchas gracias por el video, tendrás por casualidad algún link para descargar completa esta Carmen? Saludos.
Tikilin2010 Si! www.france.tv/spectacles-et-culture/theatre-danse-opera/754293-carmen.html 😃
@@mckavitt ya lo quitaron 😭
is this Carmen ?
Her voice is amazing. I just don’t understand this obsession of lyrical theatres with modernising the show. Opera is a traditional genre by definition, and it’s highly unlikely that it will attract more fans if it puts on some fake modern clothes. Its core essence is traditional, opera is traditional to the bone, and that’s why the overwhelming majority of its fans love it. If you don’t like opera, I find it hard to believe that you will go and see Carmen, Il trovatore or Traviata because the stage looks modern and the characters have tattoos (btw I have tattoos myself, so nothing against them).
If it works in the (public domain) story, someone will try it.
I wouldn't say the purpose is to attract more viewers (though that may also be part of it perhaps) but just due to the constant need to reinvent and put your own original stamp on the production. It's a way to make this version their own. Every production is certainly different and there are thousand directorial choices even with a traditional setting, but this one will stand out more in memory as being unique. And by setting the story in modern times you are saying that it is essentially timeless. This production makes you think of the Carmen you might have met in your real life, perhaps the person crossing the street just now. Personally I find these type of settings intriguing when done well. It's a new perspective on the story and the characters.
Sometimes it's funny when there's a mismatch with the lyrics (such as a character singing a whole aria about taking revenge with his sword while he's holding a gun), but it's opera, we have to suspend our disbelief. So no, I wouldn't see the show just because they have tattoos, but the characters having tattoos will catch my interest a little more than the classical production because I'd wonder why exactly the director made that choice, what does that say about how he views the characters, and what else will he changing to bring his vision to life. The beauty of opera is that we can always have our beloved classical versions to go back to, and there's always room for new ones and for experimenting.
Can you give me the full piece of Carmen? Please I'm looking for this piece of the 16 july 2017 with Elina Garanca in Paris, I can't find it!! Some help? Please 😅
@@laurenemouget9440 its gone 😭
The rial Carmen
please tell me who is director?
❤
Un'ottima recitazione, oltre all'abilità canora
❤❤❤❤❤❤❤
CARMEN, EMPODERADA.
Ⅰ got excited by unprecedented performance. Surrealism！Ⅰ have never seen such a opera Carmen．She is the sexiest Ⅰ have ever seen. This combination is experimental and interesting, I think . No bad, off course. They are good at acting. But Ⅰ would not like to see this stage with my daughter and son. When seeing ,one is better than three.
Delicious!
come attrice ha migliorata !
brava !
para escuchar con los ojos cerrados
I like the modern adaptaion of the scenery, acting etc. Wgen I saw a blonde Carmen, I thought it wouldn't work. But having a dark haired Carmen, just becausecshe is a Latin type is just a stereotype, as some Latin women are blondes, not all sultry brunettes with flashing dark eyes and olive skin.
She does the role of rough working class girl, Carmen, on the job at the cigarette factory, with all those men she gets quickly bored with very well. Carmen is a very dominant female character, so itctakes a strong mezzo soprano voice like hers, to carry off this role well. She has a strong, dominant female voice that doesn't soundctoobpretty and feminine, as Carmen was a pretty rough, tough, working class chick. But, despite its power, her strong lower mezzo soprano voice sounds beautiful. I lije her rendition of Habanera.Very realistic, authentic sounding and good acting, too.
Elina just does Carmen, SO right
Yes, but this version is terrible compared to the original.
Essa de passar batom sem olhar no espelho ela copiou de mim. Meu costume, passo Baton andando na rua.
Судя по одежде постановка модернисткая, но в целом хорошо. Гаранча есть Гаранча. Умеет.
Tf when Bize was alive phones weren't even invented. Even if they were, who was she talking to?
👏👏👏👏👏👏👏👏👏👏👏👏👏
Le voilá!
Elina is a Fi name. She looks Fi. Good for her.👍🏻
Menuda diferencia con el montaje del MET, pero Elina está bastante a la altura de las circunstancias y parece que se mete en el papel de esta Carmen anacrónica con gran salero pese a lo atroz y surrealista de la puesta en escena.
Al menos la cabina telefónica es auténticamente española, ahí han estado acertados.
Maria Callas się chowa ...choć uwielbiam ją :-)
Thanks, but not thanks! I prefer the original setting.
what about a pay phone screams habanera? i haven't seen this version so i'm sure i'm missing some important context
Elle est sur UA-cam
Ella excelente muy sensual y gran voz, pero en realidad la mejor Carmen es Agnes blast para mi gusto
Um show de sexualidade, bom gosto, charme e arte.
Porque siempre anda sin zapatos
The vocals are great but the portrayal of the character is nothing compared to Julia Migenes. What's with the phone??
Ha ha haa haa ;)
👍🏿Completly different, however, I will stick to............ Grace Bumbry's............Aesthetics.🇻🇨✍🏿
Mičite reklame
Carmen is also meant for vulgarity. It talks about sex, murder, jealousy, betrayal, infidelity, the so-called 'femme fatale'. It was considered vulgar and very offensive in 1875. In fact, even by today's standard, some scene might still be considered obscene or offensive (e.g. Michaëlla got sexual harassed by the whole legion of soldiers in the first scene). Many family-friendly versions tone down or censor many small details (yes, to make it more family-friendly). I do prefer this modern version as they did not censor anything. It gives more depth to Carmen character, making her more human rather than just being a "beautiful seducer".
So this is basically their No fancy costume version but same storyline and music?
There are way too many people on the stage, to serve any dramatic purpose.
If this opera should be modernized in any way, it should be by narrowing the number of people to just a handful, so we can focus on the plot.
This is a mess.
I agree. This is far too crowded. It's not very attractive in a production like this, and I'll bet it wasn't very comfortable for the performers. That stage was probably an oven, with so many people present at once.
...you realize that those "too many people" are the choir? The choir has a part to sing in this number. As intended by the composer. And "Carmen" requires a big choir because it has a big orchestra. You can't just get rid of half the choir, it would sound all wrong. All those people need to be there in order for the music to sound right :D
@@logandowns1288 it's a completely normal amount of people. It's the choir, all of them are needed in this scene. They're professionals and used to being this close to another... There's really nothing special about it.
peaceblossom8 I’ve been part of a chorus before, and I do understand that Carmen is traditionally handled with a moderately large chorus, but this is a contemporary adaptation of Carmen, and I personally think the stage is being overcrowded for what they’re attempting with this production. It’s just my opinion.
@@logandowns1288 But what else could they have done? They can't shrink the chorus.
I don't like the scenario, wasted beauty...