At the beginning of Duncan MacFarland’s revival of Francesco Zambello’s 2006 production of Carmen, Don José is carted off to execution, as in Prosper Merimée’s original novella. There are other moderately interesting touches later on: the English traveller typical of the 19th-century Europeans fascinated by gypsies, and a hint of parody in the narcissistic pirouetting of the toreadors in their buttock-hugging costumes. But there’s nothing genuinely radical or truly thought-provoking.
The chief recommendation of this revival is the new Carmen, the Georgian mezzo Anita Rachvelishvili. Not only does she look the part of this essentially traditional production but the voice is ideal too: smouldering yet superbly modulated. Beside her, Roberto Alagna’s Don José sounded forced and wooden in the first two acts, though after the interval he affected a show of passion, served with generous slices of ham.
A couple of unsteady high notes apart, Verónica Cangemi’s Micaëla was wonderfully eloquent, while Vito Priante’s Escamillo was decently sung, if lacking slightly in the macho bravura department. Daniel Oren conducted capably.
Not a production to frighten the horses, then, or indeed the well-behaved donkey that lends a little local colour.
Until Jan 9 (020 7304 4000, roh.org.uk), plus Welcome Performance for families, Jan 12
