State Opera South Australia. Her Majesty’s Theatre. 17 Oct 2026

 

Few operas have the popular appeal of Georges Bizet’s Carmen. Its instantly recognisable melodies, larger-than-life characters and story of desire, jealousy and fatal obsession have captivated audiences since its premiere in 1875. For State Opera South Australia, presenting this perennial favourite in its fiftieth anniversary year is an opportunity to celebrate both the enduring appeal of opera and the company’s place in the state’s cultural life.

 

Director Laura Hansford makes a point of presenting the opera as written, in 1820s Seville, without attempting to impose a contemporary setting on a story firmly rooted in its own time and place. Modernisations can be illuminating, but they can also fall foul of the libretto, producing anachronisms and cringe-worthy moments when words and actions no longer make sense in their new surroundings. Happily, there is none of that here. Nevertheless, Charlotte Kelso’s Carmen has a distinctly modern sensibility: a woman determined to control her own destiny rather than submit to the authority of men.

 

The production’s physical environment is a more mixed success. In his customary words of welcome from the stage, Artistic Director Dan Lam drew attention to the use of materials and items recycled from previous productions. The commitment to sustainability is admirable, but the resulting set is less evocative of Seville than the story requires. High walls and narrow alleyways dominate the stage, creating a somewhat static environment that restricts movement and occasionally limits the development of character through physical interaction.

 

A large red-petalled bloom dominates the set. Seville is famous for its white-blossomed bitter orange trees, while violet jacarandas are also familiar features of the city. Fiery crimson blossoms are less characteristic. Perhaps the image suggests a pomegranate tree, whose sensuous fruit would be an apt symbol for an opera preoccupied with desire and temptation. Whatever its identity, the red effectively evokes the passion that should simmer beneath the surface of Carmen.

 

Movement is another area in which the staging could have achieved more. The fight coach deserves considerable credit: the fight scenes are superbly executed, convincing and sharply timed. Dance, however, is integral to Carmen, helping establish atmosphere and reveal character. The dance sequences here are comparatively lacklustre. They remain acceptable, but lack the infectious energy and sensual excitement that might have made them memorable.

 

Fortunately, the vocal performances provide a consistently strong foundation. The principal singers are excellent without exception, bringing the vocal resources and acting skills needed to sustain Bizet’s demanding music. Kelso’s fine soprano voice ‘bottomed-out’ in one of Carmen’s more fiery passages, but her dramatic conviction remains intact. Her interpretation emphasises independence and defiance, although the sexual tension and romantic chemistry in Carmen’s relationships are sometimes cooler and more reserved than the drama suggests.

 

Kelso makes a strong impression in the famous Habanera, “L’amour est un oiseau rebelle”, where the playful rhythms and seductive melody demand both vocal control and an effortless sense of character. Gerard Schneider’s Don José provides a compelling contrast. His performance captures the soldier’s transformation into a man consumed by obsession, particularly in the lyrical Flower Song, “La fleur que tu m’avais jetée”, which requires sustained phrasing and genuine emotional vulnerability.

 

As Escamillo, Samuel Dale Johnson brings authority and theatrical confidence to the celebrated Toreador Song. He was superb, as was Désirée Frahn who offers welcome sincerity as Micaëla, while Cathy-Di Zhang never fails to please as Frasquita, particularly in the ensemble passages. Across these roles, the singers demonstrate the vocal technique, expressive range and dramatic understanding required to make their characters convincing.

 

One of the production’s outstanding strengths is the clarity of the French diction. The principal singers and chorus articulate the libretto superbly. For audience members with some knowledge of French, the words are readily intelligible without slavishly following the surtitles. This is particularly valuable in an opera where teasing exchanges, declarations of love and confrontations are central to the drama.

 

The State Opera Chorus is once again superb. The harmonies are cleanly balanced, the diction precise, and the acting consistently engaging. The chorus functions as far more than a musical backdrop: throughout the crowd scenes, individual performers react convincingly to the action around them. Wherever one looks, there is a gesture, glance or moment of curiosity that brings the stage to life. The familiar choruses and ensembles benefit greatly from this collective energy.

 

The Adelaide Symphony Orchestra performs well under Lam’s baton. Bizet’s score is rich in colour, rhythm and memorable melody, and the orchestra provides a responsive partner for the singers. Lam draws an interesting distinction between the men’s music, often grounded in measured rhythms, and the women’s arias, with their driving momentum and more exotic harmonic colours. This contrast reflects the opera’s sharply drawn gender roles: the men seek order and possession, while Carmen’s musical world suggests movement, unpredictability and freedom.

 

The audience clearly revels in Bizet’s familiar tunes. Indeed, several patrons in the front row become so caught up in the proceedings that their enthusiasm suggests a rock-concert mosh pit rather than a night at the opera. There is something heartening about this. Opera need not be a solemn ritual enjoyed only by the initiated. If familiar music can draw audiences into the theatre and inspire such uninhibited responses, the art form is doing something right. Keeping audiences engaged and returning to live performance matters enormously.

 

There is a further reason to welcome this production. It is largely a South Australian undertaking, with most of the creative team and cast having strong local connections. This demonstrates that opera here exists within a vital artistic ecosystem, supported by performers, musicians and production personnel capable of working together at a high level. As the fifth production of State Opera’s fiftieth anniversary year, Carmen is a remarkable achievement and a testament to the strength of the company’s current leadership and artistic team.

 

Ultimately, this Carmen has much to commend it, even if it doesn’t quite ‘pop’. The singing is consistently strong, the chorus is a delight, the orchestra brings colour and vitality to the score, and the decision to respect the original setting avoids the pitfalls of unnecessary modernisation. Kelso offers an interesting interpretation of Carmen as a woman determined to remain master of her own fate, while the clarity of the French and the quality of the ensemble work deserve particular praise.

 

Kym Clayton

 

When: 17 to 24 Oct

Where: Her Majesty's Theatre

Bookings: premier.ticketek.com.au