Carmen Al-Andalus: A Fusion of Cultures at the Théâtre de Brunoy
The Opéra Eclaté company has recently brought a striking new adaptation of Bizet’s Carmen, titled Carmen Al-Andalus, to the stage of the Théâtre de Brunoy. This bold reinterpretation, crafted by Olivier Desbordes, combines elements of Bizet’s iconic music with aspects of Prosper Mérimée’s original novella, adding new layers and context that explore and embrace Andalusian culture. The production, combining classic opera with contemporary, multicultural influences, brings fresh vitality to this timeless story, drawing in opera fans and newcomers alike.
Embracing Carmen‘s dramatic origins, Desbordes and Opéra Eclaté have omitted certain characters from the traditional opera, such as Micaëla and Escamillo, to stay closer to Mérimée’s narrative and heighten the thematic intensity. In their place, Carmen Al-Andalus introduces Garcia, Carmen’s husband and a key character in the novella. This inclusion allows audiences to view Carmen’s character through a different lens—one that presents her as more than just a femme fatale, but rather as a woman shaped by the complex intersections of love, independence, and tradition.
This adaptation is also enhanced by a collaboration with the trio Fakir, which underscores the musical score with authentic Mediterranean influences. The music blends Bizet’s compositions with instruments that capture the essence of southern Spain, transporting audiences to a setting rich with history and cultural exchanges. The inclusion of traditional Andalusian instruments and melodies creates a soundscape that resonates with Carmen’s world, from the warm vibrancy of the taverna to the shadows of the mountainous frontier.
The lead role of Carmen is brought to life by mezzo-soprano Ahlima Mhamdi, whose performance as the bold and defiant heroine is infused with emotional depth and vocal precision. Emmanuel Deroeux notes Mhamdi’s “sensual but insolent” portrayal, supported by her powerful mezzo timbre and impeccable diction, which captivates audiences in every scene. Her Don José, performed by Jean-François Marras, conveys the emotional turmoil of a man entrapped by love and duty. His powerful vocal presence brings a compelling intensity to the role, especially in moments of longing and despair, such as the classic aria “La fleur que tu m’avais jetée.”
Adding further depth to the production, Yassine Benameur’s portrayal of Garcia—Carmen’s husband—includes two songs sung in Arabic, capturing the linguistic and cultural diversity that has long characterized Andalusia. These new musical additions, crafted by Youssef Kassimi Jamal, draw from traditional Andalusian melodies and give Garcia’s character an intriguing new dimension.
The Théâtre de Brunoy’s minimalist staging, designed by Patrice Gouron and enhanced by Simon Gautier’s skillful lighting, offers an intimate setting that emphasizes the performers’ movements and interactions. Rather than elaborate props or backdrops, the stage is framed by simple rows of chairs, with a painted backdrop by Aziz Lkhattaf depicting Mediterranean landscapes. The simplicity of this staging choice allows the focus to rest on the characters, music, and drama of the piece.
In a striking finale, audiences at the Théâtre de Brunoy celebrated the Opéra Eclaté troupe for their innovative and inspired production of Carmen Al-Andalus. The applause spoke to the production’s success in making Bizet’s iconic opera accessible and meaningful to contemporary audiences while preserving its essence and power.
This article draws inspiration from Emmanuel Deroeux’s piece, “Carmen Al-Andalus, au-delà des frontières au Théâtre de Brunoy.”
