Even those who have never seen a speck of opera in real life know “Carmen.” The 1875 work by Georges Bizet has penetrated popular culture like few others, with “Habanera” and other musical themes being instantly recognizable thanks to their use in countless movies, TV shows, and other works. Its contemporary reputation would have shocked the composer, who died of a heart attack three months after its premiere.
Now, in honor of the 150th anniversary of the opera and Bizet’s tragic passing, two separate performing arts companies in South Florida are putting on their own versions of Carmen. The Miami City Ballet and the Florida Grand Opera are each premiering a new take on the classic story of love and betrayal in Seville. Just don’t call it a rivalry.
“It is completely collaborative, because whatever they’re doing is promoting us, and we’re promoting them,” said Maria Todaro, general director of the Florida Grand Opera. “I encourage everybody to go see the ballet and go see us and compare.”
Both Todaro, who is also directing the opera itself, and the Ballet's guest choreographer Annabelle Lopez Ochoa, say that their versions will update the opera in terms of setting and themes.
CARMEN FIGHTS FASCISM
(Courtesy Florida Grand Opera)
Florida Grand Opera's production of "Carmen" sets the action during the Spanish Civil War
Todaro has a personal connection to “Carmen” – her mother performed the role at just 21 years of age at La Monnaie in Brussels, making her the youngest person to ever perform one of the most iconic characters in opera.
In Florida Grand Opera’s version, the setting is updated to the time of the Spanish Civil War. The titular character of “Carmen,” traditionally seen as a femme fatale who seduces, then betrays, the hero Don Juan, only to be murdered by him in the end, is updated for the setting. She’s now a Republican soldier fighting the fascists, and her seductive acts are a means to an end.
Todaro said there’s not necessarily any political intent behind moving the action to the Civil War, which is still a subject of intense controversy in Spain itself, and she consulted with Spanish cast members about the change. She was inspired by a framing device in the novella of the same name by Prosper Mérimée, that Bizet adapted into his opera, in which the author interviews Don José prior to his execution.
“The main topic is not the political context,” said Todaro. “The main topic is the development of the character. We wanted to give a little bit more depth into the development of the character of the women in the opera, and not just make them superficial girls that sleep around. They have other motives that justify why they're seducing the soldiers, that justify why they're doing what they do.”
This production of Carmen will also make history as the first time the Costa-Jackson sisters – Ginger, Marina, and Miriam – will perform together in a full-scale opera production. Each of the sisters have performed individually and in trio concert settings, but never before in an opera of this magnitude.
Carmen has become a signature role for mezzo-soprano Ginger Costa-Jackson. Her sisters, Marina and Miriam, are both sopranos, and will alternate the role of Micaela. Individually, the sisters have performed at some of the most prestigious opera houses in the world, including the Metropolitan Opera, The San Francisco Opera, Opera Nationale de Paris, and the Royal Opera House Covent Garden.
CARMEN GAMBLES IN THE UNDERWORLD
(Photo by Christian Lockerman, Warhol Creative)
Choreographer Annabelle Lopez Ochoa was inspired by Hollywood gambling dens in conceptualizing Miami City Ballet's "Carmen."
Miami City Ballet aims to take even more drastic liberties with its production. Lopez Ochoa also went back to Mérimée’s book for inspiration and found Carmen to be a very different character than in Bizet’s opera.
“Carmen is the woman that's pretty much in charge,” said Lopez Ochoa. “She's very powerful among the thieves.”
Lopez Ochoa also found another source of inspiration. She watched a documentary on “Poker Princess” Molly Bloom, the former skier who organized high-stakes poker games for celebrities in Hollywood, portrayed by Jessica Chastain in Aaron Sorkin’s film, “Molly’s Game.” The choreographer decided to update the setting to a gambling den rather than a cigar factory and make Carmen a heavy hitter in the underworld. Escamillo, the flamboyant toreador who steals Carmen away from Don José, is turned into an A-list actor.
These changes are also reflected in the production design by Christopher Ash. Bull’s horns are incorporated heavily into the set, referencing the bullfighters while also symbolizing the masculinity, money, and power Carmen desires. Giant dice are placed onstage in reference to the gambling theme, also representing the way in which Carmen gambles her fate.
(Photo by Christian Lockerman, Warhol Creative)
Miami City Ballet's production of "Carmen" aims to modernize the original story.
“Money is important to her,” said Lopez Ochoa. “It will gain her independence from having to marry a man.”
Both companies confirmed that each decided to pursue their production of “Carmen” independently; productions at performing arts venues typically take years to plan and execute, and both the ballet and the opera only found out what the other was doing when both were further along in the planning stages. At the ballet, for example, Lopez Ochoa was approached to do their “Carmen” two years ago.
“I was like, well, that's on my bucket list. So yes,” she said. “Then we found out that we were at the same time as the opera, so it will be interesting for the audience to see both narratives.”
“Our audience is the same, they don’t like to be divided.” Todaro said. “They’re going to buy an excellent bottle of wine, go to a museum or an obscure little restaurant. It’s what we attract, but technically it’s for everybody, right?”
One thing that surprises Todaro about this cultured audience is that many tend to be younger generations.
“They want the experience of it,” she said. “They dress up, they play the game. They want the champagne. They want the full experience.”
IF YOU GO
“Carmen” at Florida Grand Opera
Arsht Center, 1300 Biscayne Blvd., Miami
April 12, 13, and 15
The matinee performance on April 13 will include a pre-opera talk at 2 p.m. before the show at 3 p.m.
Broward Center, 201 SW 5 Ave., Fort Lauderdale
April 24 and 26
“Carmen” at Miami City Ballet
Arsht Center, 1300 Biscayne Blvd., Miami
April 25-27
Broward Center, Broward Center, 201 SW 5 Ave., Fort Lauderdale
May 3-4