![]() ![]() The unease of this visual design (the creepy makeup and perilous set) is undeniably by design as Kosky’s entire premise is to deconstruct “Carmen” of its clichés and present it in a way that people are not expecting. Throw in the fact that a lot of the wardrobe actually plays into many of the constructs of what a “Carmen” should look like (the bullfighting ensembles and even the some of the gypsy vestments) and it actually works on some levels. Characters are dressed in black and white, with many featuring white face paint that makes many look like Beetlejuice. A massive (and dangerous-looking) set of stairs dominates the proceedings with a black backdrop. The set’s aesthetics are minimalist in design. But at it’s best, it’s a perfectly enjoyable take on the opera. Let’s be clear – this is no revelatory “Carmen” like recent auteur-driven productions like Willy Decker’s “La Traviata.” It doesn’t do enough to deepen the mythos of the opera or its themes (more on that in a bit). I was in the latter camp, which was surprising given that other comments made about the production in the lead-up to my experience noted that it was among the worst productions that had ever been conceived by mankind. Those who know the work more intimately might find themselves feeling a wide range of emotions that could include (but are not limited to) love, hate, boredom, emptiness, fun, confusion, and deep introspection. ![]() Those who hate it might find this a breath of fresh air. ![]() Those who have never seen the opera might actually find themselves riveted by Kosky’s conception and execution. How one experiences Barrie Kosky’s “Carmen,” which is currently being presented at the Royal Opera House, Covent Garden, really depends on your relationship to the work itself. ![]()
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