Annabelle Drumm
July 12, 2025

Last night, Opera Australia launched their 2025 Winter season with a bang at Sydney Opera House. Georges Bizet’s Carmen is one of the most popular and most performed operas in the world, recently passing its 150th Anniversary. Every Opera Company has their versions. Every Mezzo Soprano wants to make their own interpretation of the role. After so many many versions seen over the decades, its hard to imagine there could possibly be anything new that could be squeezed out of the story or the characters yet, this version succeeds.

Making her major opera debut is Melbourne Theatre Company’s Artistic Director, Anne-Louise Sarks as Director for the production. Bringing Carmen’s story into modern day, Sarks’ emphasis for all cast members is survival. Her goal is to “challenge audiences, posing thought provoking questions about gender, violence and class.”

The gender agenda appears to be wearing thin in other parts of the world. Men with beards in frilly dresses and the 1-straight-couple-2-gay-couples format is spotted in various scenes. However, the highlight of Sarks’ direction is her interpretation of the major characters. Sometimes, their demeanour or appearance doesn’t always match the words of the libretto but other times there is space for new ideas. Occasionally, her direction would completely catch the audience by surprise.

The Principal Singers

Carmen (Australian-Sri Lankan Soprano Danielle de Niese) is usually played as a fiercely confident, passionate and street wise women. She is bold, sly and uninhibited sexuality making her hard to beat. As a seasoned smuggler, she knows she has all the guys (well, most of the guys) eating out of her hand and uses it to the max. The de Niese version of Carmen is gorgeous and appears to be more naive, soft and playful. She has her vulnerabilities and is not overly sexual.

Her dance as Lillas Pastia’s Inn was more like a teenager enjoying some attention in front of a mirror as if still discovering her adult body. It was relatively sweet compared to other interpretations in the same contemporary setting. Don José and Micaëla both sing of her being evil and a witch. These descriptions don’t match this version of the character but that’s a minor issue. De Niese’s Carmen was thoroughly affable to the audience, with occasional sparks of fierceness only when necessary.

Her voice was excellent, no problems with volume or pitch. One minor annoyance was constantly stretching the phrases beyond the music. This would occasionally leave Conductor Lidiya Yankovskaya in the lurch. Sometimes she would hold the orchestra back. Other times she would just have to take a punt and carry on, then, de Niese would skip a few notes to catch up with the orchestra. Using this style of singing is fine a few times during the night but not so often such that one wonders who is leading the way. Over all, de Niese was spectacular. She has the chops, a vivacious smile and outstanding dramatic skills. The audience loved her.

Leading man, Don José (Mexican Tenor Abraham Bretón) was portrayed as dangerously swinging between a whining, vulnerable weakling and a fierce brute,

lashing out at whomever is nearest, devoid of self control. Director Sarks did very well in slowly building his menacing and violent reputation which is often missed in comparable productions.

One of the most difficult scenes to pace out is the initial meeting of the two main characters in the first Act. Somehow, it must be communicated to the audience that, in a short period of time, Carmen knocks José over with her seduction to the extent that he is willing to risk jail in order to see her again. Bretón had some opening night nerves which will go as the season continues. The chemistry was lacking a little, particularly in Acts II and III. As trust builds between the artists this will likely improve.

His voice has a really lovely tone and is ideal for the role. It would be very interesting to see how he develops the role further over the next few weeks.

The superstar Toreador, Escamillo (Ukrainian Base Andrii Kymach) made a fantastic entrance. The attitude was spot on and the ensemble did a great job of crowding him as fans do. (A laugh out loud moment was Lillas Pastia (Ruth Strutt) sneaking a few selfies with him while he looks unimpressed.)

Kymach has a commanding voice very capable of the role. It would be great to see him develop his character more as well. His opening Toreador song is a moment of great story telling. Here, Escamillo draws his fans into the passionate, descriptive scene of fighting the bull. It’s scary, thrilling, leaving them gasping. Kymach has room here to throw himself into that storytelling and also into the fight in Act III.

Fight Director Tim Dashwood has given some good direction for the many moments of scripted violence in this opera. As a premiere, the cast seem a little hesitant presently. Hopefully these actions will fill out to a more believable level as the season continues.

 

Micaëla (American Soprano Jennifer Black) has been given a makeover by Sarks as well. Usually, the character is the sweet and innocent country bumpkin, venturing into the city to find Don José with messages from his neglected mother. In this production, Micaëla looks like she can easily manage the 20-30 soldiers at the barracks when they surround her. In Act III, when she succeeds in drawing Don José away from the criminals to come back to his dying mother, she looks ready to give him a kick in the bum. If José had followed his Plan A and married her, one doubts he would have worn the trousers in the relationship. Black’s voice is sturdy and powerful creating a great foundation on which the other singers can rely.

So, all in all, the characters have a fresh spin that is quite different and makes for fascinating viewing.

The Ensemble
In the minor roles, Richard Anderson as Zuniga and Andrew Moran as Moralès both do excellent work. Special mention must be made for the quartet of smugglers played by Luke Gabbedy, Kanen Breen, Jane Eye and Helen Sherman. These company regulars just fell into place like peas in a pod. There is a very difficult quartet in Act II “Nous avons en tête une affaire”. The singers flitted over this piece with ease, in great unity and syncopation. Absolutely superb.

The Opera Australia Chorus were their usual wonderful, strong presence on stage supporting the story and Principals. Chorus Master Paul Fitzsimon has rehearsed them beautifully. Direction gave them each individual business which looked very natural in the crowd scenes.

Sets, Costume And Lighting Design
The sets and costumes must be mentioned in this world premier production designed by Marg Horwell who has worked with Sarks many times before. Lighting Design was by Paul Jackson. The set and lighting for each act is a stark contrast to the one before and aft. Act I is a dark and dirty street where everyone seems to be poor. The soldiers were presented in pale khaki whilst the cigarette factory girls were in variations of a dirty pink trouser uniform. Just a small change in lighting and suddenly they all melded together in one pale, androgynous mound of bodies. The only contrast used to highlight Carmen was a black singlet so, she often disappeared amongst the other bodies and was hard to spot.

Act II, the Inn is colour saturated overwhelm with a large dose of kitsch effigies, pop logos and sequins. Very little of the Spanish influence seems to remain and the clutter in the scene makes it hard to know where to look. Act III, despite “hiding” from the authorities, the characters boldly continue on in full sequins.

In the fortune telling scene, the girls have lost their tarot cards and seem to be telling their fortune with regular playing cards in a non-tarot layout. Carmen pulls the Ace of Hearts and reads it as death which was rather amusing. Someone, get these girls some real cards!

The final Act is filled with overwhelming colour again. Costumes seem to be a mix of Sydney Mardi Gras with the Mexican Festival of the Dead. It’s certainly a strange way for an audience to attend a bull fight but makes for a memorable close to the show.

In Spain, tradition reigns and, even these days, no Toreador would enter the bull ring in soft casual trousers and an open neck shirt. The Toreador’s uniform remained on the hanger through this scene.

Choreographer Shannon Burns also abandoned any suggestion of Spanish influence in this production. Instead, she seems to have stuck with the Festival of the Dead theme. The dance moves were sporadic so there was no point of focus. Perhaps this was intentional? Soprano de Niese had a few flamenco moves but she suppressed utilising them fully.

Summing Up
If you are a conservative and like your operas set in the era they were designed to portray, you may have some problem with the visuals of this new, shiny production. However, if you like a mash up on the interpretation, you are going to love it. Either way, we all come to the Opera House to hear Opera. This production will satisfy everyone’s ears. The orchestra is excellent, the chorus will knock your socks off and the principal soloists are sensational.

Those living outside Sydney would do well to buy a plane ticket and head into the city. Carmen is world famous for the magnificent music and songs you can easily recognise. You will definitely come away thrilled and satisfied.

The season for Carmen runs from 10 July – 19 September 2025.

Highly recommended.

Opening Night Cast
Conductor – Lidiya Yankovskaya

Carmen – Danielle de Niese
Don José – Abraham Bretón
Escamillo – Andrii Kymach
Micaëla – Jennifer Black
Zuniga – Richard Anderson
El Dancairo – Luke Gabbedy
El Remendado – Kanen Breen
Frasquita – Jane Ede
Mercédès – Helen Sherman
Moralès – Andrew Moran
Lillas Pastia – Ruth Strutt

Production Heads
Director – Anne-Louise Sarks
Sets and Costumes – Marg Horwell
Lighting – Paul Jackson
Choreographer – Shannon Burns
Fight Director – Tim Dashwood

Related Links
Book your tickets with Opera Australia https://opera.org.au/
More about Danielle de Niese https://danielledeniese.com/
What else is on at Sydney Opera House? https://www.sydneyoperahouse.com/whats-on