Carmen, Bizet’s final and most popular opera, is a story of jealousy, love and violence. Originally set in 1820s Seville, it centres on the titular diva Carmen (Milette Gillow) and her tempestuous entanglement with Brigadier Don José (Robin Whitehouse). Given the production’s infamously disastrous Paris debut in March 1875, where the subject matter was critiqued heavily as immoral and obscene, it’s a shame Bizet never lived to witness the mainstay of the operatic canon that Carmen would become. 

The ever-relevant themes of Carmen still shock modern audiences, providing gripping commentaries on violence against women and limerence. There’s a reason why Carmen is one of the biggest household names in opera, with arias such as “Habanera” and “Votre toast” (“Toreador Song”) becoming solidified as some of the most famous in operatic history. As Lana Del Ray would say: “the boys, the girls, they all love Carmen.” 

Oxford Opera Society’s re-interpretation of Carmen is set against the backdrop of a more minimalist Francoist setting. As a stickler for traditional adaptations of opera, I originally had my doubts over whether the setting of 1950s Seville would translate well. However, this updated interpretation didn’t clamp down on the seminal moments within the production. The sleaze of Lillas Pastia’s taverna in Act Two was not lost, and the doom-laden emotion behind “Mêlons! – Coupons” (“The Card Trio”) was successful in casting a spectre of death over the rest of the performance. The minimalist set design bolstered the more emotive and introspective scenes within the opera, isolating monologues from the noise of the more general narrative, and creating a sense of intimacy.

One of the benefits of using the Sheldonian Theatre as a venue was the way in which the cast and crew interacted with the space. The lack of an orchestra pit incorporated the orchestra into the performance, with Toby Ward’s charismatic and precise conducting being almost equally as entertaining to watch as the performance. Using the Sheldonian, arguably one of Oxford’s most iconic venues, to host Carmen was an incredibly smart decision. Paired with the dramatic backdrop of the Sheldonian, the minimalist lighting added more gravity to crucial scenes, emphasising the growing tension between Carmen and Don José. Plus, a pretty venue never hurts! 

For me, the vocal performance that took the cake was David Bicarregui’s Escamillo. With a booming baritone that commanded attention, the status of the Toreador as a local celebrity became clear. Gillow’s Carmen and Whitehouse’s Don José were both played less aggressively than usual, emphasising that in this story both are victims. You can’t fault Carmen for becoming starstruck by Escamillo. Nor can you dismiss the desperation felt by Don José at having betrayed his principles for nothing. 

Oxford Opera Society’s more modern adaptation was refreshingly concerned with complex constructions of each character’s victimhood, but perhaps sacrificed some of the dramatic impact through doing this. The characters were represented so sympathetically that I found myself to be the only one booing Don José during the applause – whoops… 

While bearing the hallmarks (such as tech mishaps) of a smaller non-profit student production, Oxford Opera Society’s production of Carmen was stellar. As a long-term opera fan, the competency of director Isabella Li-Yan-Hui and the production team in creating a successful adaptation of such a beloved opera was impressive.

If you are an opera fan in Oxford, I’d highly recommend you follow the activities of the university’s Opera Society. When grappling with a student budget and the Oxford workload, the quick sellout times and price tag of visiting the Royal Opera House can make viewing operas difficult. With this in mind, it’s exciting to see that a student-run opera company can produce quality performances, with casts composed of numerous talented and professionally trained opera singers, alongside students. I’m excited to see what the Oxford Opera Society will work on in the future. 

[Carmen, a production by Oxford Opera Society, ran in the Sheldonian, Friday May]