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' Carmen ' reborn in the Real as a feminist icon

The version of Calixto Bieito destroys the myth of the archetypal femme fatale to give the protagonist the ability to love, decide, be free

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' Carmen ' reborn in the Real as a feminist icon

There can be No more suitable time than current one so that Teatro Real has recovered version of Calixto Bieito of opera Carmen with all its impudence and all its iconoclastic, Amen of vocal force of Repertoire. Let us leave aside necessary provocations in truly important art, in this case a scenery plagued by rojigualdas flags, bulls and Legion. Concedámosle to Bieito and Joan Matabosch, artistic director of Real, right to distance and irony, to be able to proclaim without saying that this is Carmen, but in no case Mérimée. It is clear when first cigarette to appear in scene bankruptcy famous fourth wall and sits down to smoke carefree on edge of moat, looking brazenly at public, at a time similar to that in which Patrice Chéreau made chorus turn to look at public in ir Famous and controversial version of tetralogy of Wagnerian ring in Bayreuth.

To submit to this Carmen, one of strong dishes of season of bicentennial of Real, to only scrutiny of icons that shatters is to make him a great injustice. Because this Carmen is not only provocative, nor is it just result of its impeccable technical and musical bill. It is much more, a slow-acting blow on situation of society.

First, opera makes it feel comfortable and entrusted to public by placing it in front of colorful spectacle of clichés in contrast, armed and unarmed as Osborne bull that dominates stage during third act. There are all recurrent mes of work of great Spanish directors, such as Pedro Almodóvar, Carlos Saura and Bigas Luna. From soldier who tore naked in moonlight to Nordic tourist blond smeared in sunscreen. And quietly lost in this mannerism-like Labyrinth, spectator settles between Habaneras and Seguidillas to receive at end a clash of such magnitude that re is no possibility of recovering if it is not examining his own conscience.

Because in end this Carmen becomes a deep and bitter reflection on gender violence. It takes a lot of courage and artistic poise to reveal to one who has always been considered tempting par excellence as what is actually: a victim. It must be said clearly: This version of Carmen destroys myth of archetypal femme fatale to give protagonist ability to love, decide, to be free. From tangle of Lamé Dorado, Mercedes ramshackle and Christmas lights, re is a brave woman in end dressed in her own dignity and willing to give her life to be free.

It is an approach as daring as noble by an institution as Real that has demonstrated its determination to situate opera at center of debate on issues that most concern society, as demonstrated by Dutch errant de la Fura dels Baus , a reflection on modern industrial slavery. It is a laudable achievement, in an institution with 200 years on slopes.

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