CARMEN. Director: Steven Stead. Conductor: Tim Murray. Choreographer: Naoline Quinzin. Cast: Nonhlanhla Yende, Lukhanyo Moyake, Vuvu Mpofu, Conroy Scott, Graham Bourne, Chorus and Children’s Chorus of Cape Town Opera, members of the Cape Town Philharmonic Orchestra. Photographs: Oscar O’Ryan. Artscape Opera House.
BEVERLEY BROMMERT reviews
Serendipitously coinciding with Artscape Theatre Centre’s 55th anniversary, Cape Town Opera’s Carmen has all the lustre of a world class production; it shimmers and simmers with increasing urgency as the four acts become progressively shorter and more intense on their path to a violent dénouement.
Act One evolves at a leisurely pace for nearly an hour, while the finale lasts all of twenty minutes.
Credibility of characters and plot is promoted by sturdy earthiness to counterbalance the clichés associated with Spanish culture, revealing a reality beyond flamenco flounces, bull-fighting and sangria. Carmen and her friends are working girls, the coarse-grained soldiers who harass them and the smugglers who operate outside the law work because they need to earn a living … a harsh lifestyle dangerously conducive to negative energy.
From the opening sequences of Act One, the surface tranquillity of village life is subverted by latent turbulence apparent in telling signs such as angry graffiti on walls, flag-waving youngsters blatantly defying authority (this is Seville under the Second Spanish Republic of the early 1930s). Here we have an appropriate setting for a tale of wrath and passion, as political instability mirrors the volatility of this opera’s protagonists.
High octane performances
Gregory King, as usual, provides a succession of sets that are both functional and eye-pleasing, cleverly textured to suggest rustic architecture in Act One, unforgiving mountain terrain in the nocturne of Act Three, and the imposing exterior of the Bullring in Act Four.
The rosy tableau of Pastia’s tavern in the second act is best of all, projecting convivial warmth and escapism in sensuality, a perfect setting for spirited dancing courtesy of choreographer Naoline Quinzin.
Each set benefits from Faheem Bardien’s insightful lighting effects.
Such sympathetic staging serves to offset high octane performances from the trio of Nonhlanhla Yende (Carmen), Don Jose (Lukhanyo Moyake) and Conroy Scott (Escamillo) with the potential of secondary characters’ roles (Micaëla and Zuniga) optimally exploited by Vuvu Mpofu and Graham Bourne respectively.
Mpofu’s maturing artistry has resulted in near-flawless vocal delivery, full, sweet and supple; Bourne brings all the requisite anti heroism to a thoroughly despicable role, in which acting ability is as essential as singing proficiency. He satisfies on both counts.
Blazing form
As for the leads, Nonhlanhla Yende is radiantly authoritative as the voluptuous, alluring, playful, self-willed Carmen. Her potent stage presence and effortless mezzo dominate from the moment she appears, anything but an anticlimax after all the build-up preceding her first entry. Here we have a multifaceted portrayal of a complex and fascinating persona.
Lukhanyo Moyake’s Don Jose provides a worthy foil to Yende’s Carmen: his reliably heart-melting tenor is a thing of beauty whether heard in solo arias (a highlight being the yearning tenderness of “La fleur que tu m’avais jetée”) or in passionate duets with his leading lady, and even with his rival in love, Escamillo (Conroy Scott).
The latter’s rich baritone and Moyake’s agile tenor marry in an appealing and all too brief partnership in Act Three.
Scott, currently in blazing form, steals the show as the dashing bullfighter who wins Carmen’s elusive heart only to lose it in the end…The strength of his personality and unforced resonance of his delivery give him all the requisite confidence to tackle this role with ease.
Ravishing work
Choruses both adult and young bring their collective prowess to enhance this production, the children having a more prominent role than usual in the action.
Top marks to Chorus Master Antoinette Huyssen for honing a sizeable group of young singers into neat ensemble.
Thanks to conductor Tim Murray’s meticulous research, this is the most authentic version of Carmen to be staged since Bizet’s untimely death, as passages of sung recitative are restored to spoken dialogue in keeping with the composer’s intentions. This opera was conceived as an Opéra-Comique, its character betrayed by what Murray aptly terms “musicological vandalism”.
The result is a ravishing work, which CTO has the courage to present in its original form. Under Murray’s baton the CTPO musicians, after a particularly strident overture, restrain their playing to suit the singers’ delivery and offer gently muted accompaniment, when needed, as background to spoken dialogue.
It all comes triumphantly together with masterly direction from Steven Stead.
What better way to celebrate Artscape ‘s 55th anniversary?
What: Cape Town Opera Carmen review
Where and when: Artscape Opera House on 19, 21, 27 and 29 May 2026 at 7pm | matinees on 23 and 31 May 2026 at 2pm
Tickets: Artscape on 021 421 7695 and Webtickets
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