'Carmen' review — in its 150th year, Bizet's provocative, sexually charged opera still enthrals

Read our review of English National Opera's Carmen, starring Niamh O’Sullivan, now in performances at the London Coliseum to 5 November.

Summary

• English National Opera revive Calixto Bieito’s gritty production of Bizet's opera Carmen at the London Coliseum
• The staging transfers to the action to 1970s Spain under General Franco
• Irish mezzo-soprano Niamh O’Sullivan brings sensuality and defiance to the fiery title role
• John Findon and Ava Dodd are also in excellent voice

2025 marks the 150th anniversary year of Bizet’s problematic, but much-loved, opera Carmen. Provocative Spanish director Calixto Bieito’s gritty production makes a fourth return to the Coliseum stage in a welcome revival.

The ill-fated union between straight-laced Corporal Don José and the rebellious Carmen begins with passion, but when Carmen turns her attention to bullfighter Escamillo, Don José’s infatuation turns to anger and tragic violence.

Gone is the sun-drenched beauty of 19th-century Seville, as Bieito transfers the action to the dog days of Franco’s reign. Brutish violence is round every corner and sex is invariably used as a weapon. These themes are challenging at best and so it is unsurprising that an intimacy director (Haruka Kuroda) has now been employed for the production.

English National Opera revival director Jamie Manton recognises that toxic masculinity and sexual violence are insidious weeds which penetrate every aspect of this opera. Carmen can never work if it is safe, and this production still has the power to shock.

Sensibly, in this version, Carmen is no longer a rebellious gypsy, and Irish mezzo-soprano Niamh O’Sullivan lends her sensuality and defiance. However she is clearly a talented actor, so it seems unnecessary for her to spend so much time leaning seductively on car bonnets. She has a rich voice, with her native accent often coming through. There is lovely tone in the lower notes of her “Habanera”, but the higher register has some harsh edges.

Tenor John Findon is compelling as the increasingly brutal Don José. He brings depth to the role, showing the character to be more than just a thug, but tormented and ultimately lonely. Findon gives a good sense of insecurity that leads to pent-up rage as he feels betrayed by Carmen. This anger contrasts beautifully with his powerful yet sensitive singing, particularly in a gorgeous rendition of “The Flower Song”.

The issue is that O’Sullivan and Findon lack much-needed chemistry. This undermines the essential premise that it is self-destructive sexual passion driving their relationship. Unfortunately, this affects the impact of the whole opera.

ENO Harwood Artist Ava Dodd brings huge emotion to Micaëla, more than holding her own against Carmen’s wildness. She has a real sparkle to her soprano and the traditional role of moral foil to Carmen is surprisingly subverted when she spits at her as she leaves the stage.

Cory McGee is confident and charming as Escamillo. His “Toreador Song” lacks a little in the lower register, but still bounces along. Freddie Tong is imposing as Zunigo and Siân Griffiths and Harriet Eyley provide good support to O’Sullivan as friends Mercédès and Frasquita respectively.

Alfons Flores’s set is minimal, leaning more on props, such as an impressive array of vintage cars coming together at night to conduct shady smuggling business. Conductor Clelia Cafiero (who shares duties during the run with Olivia Clarke) starts the performance at a tremendous pace and maintains the compulsion and atmosphere within the score. Some of the English translation doesn’t quite gel and projection is often compromised if the singers deviate from the front of the stage.

Dark, disturbing and daring, Bizet’s remarkable score still enthrals, even if, on this occasion, the sexual sparks never quite fly.

Carmen is at the London Coliseum to 5 November. Book Carmen tickets on LondonTheatre.co.uk

Photo credit: Carmen (Photos by Ellie Kurttz)