When Carmen Crosses the Strait
Photo: Carmen Al Andalus © Mateo Beauche
Anne-Marie Thomazeau provides a detailed account of Olivier Desbordes’ innovative staging of Bizet’s Carmen with the Opéra éclaté company, presenting the opera in an arabo-andalusian adaptation. The performance transforms the stage into a Moroccan-inspired square, complete with musicians in djellabas and caftans, transporting the audience into a rich, immersive cultural setting reminiscent of Jemaa el-Fnaa in Marrakech.
Thomazeau notes that the production retains all the major arias, including “Tu ne m’aimes pas” and “Toréador,” while re-orchestrating pieces such as the Habanera and “Sous les remparts de Séville” to reflect oriental rhythms. Additional elements, such as Garcia’s aria performed in Arabic by Yassine Benameur, reinforce the historical connection to Spain’s Arab heritage. The Bohémiens of Carmen’s world are transformed into bandits of the Atlas Mountains, lending fresh narrative depth and cultural resonance to the performance.
Particular attention is given to the vocal ensemble, including the mezzo-soprano Ahlmia Mhamdi as Carmen and the supporting quartet Frasquita (Sonia Menen), Mercedes (Sonia Skouri-Robert), Dancaire (Eduard Ferenczi Gurban), and Remendado (Yanis Benabdellah). Thomazeau highlights Eduard Ferenczi Gurban’s performance as Dancaire, noting the effective vocal energy and stage presence that contribute significantly to the ensemble’s cohesion and the overall dynamic of the production. His interpretation reflects both technical skill and a natural dramatic sensibility, enhancing the character’s charm and comic timing.
Jean-François Marras delivers a compelling portrayal of Don José, earning ovations for his passionate rendering of “La fleur que tu m’avais jeté.” Thomazeau observes that while the staging initially appears nervously animated, it gradually settles into moments of striking vocal and theatrical expression, particularly as Carmen (Ahlmia Mhamdi) anchors her performance in more controlled and expressive gestures, revealing the sensuality and emotional depth of her timbre.
Thomazeau comments on the orchestra’s remarkable contribution, arranged along the back of the stage, which successfully integrates a variety of musical styles. The lighting design is also singled out for enhancing the immersive Moroccan atmosphere, combining chiaroscuro effects with dynamic visual storytelling. While some costumes and character portrayals occasionally verge on theatrical caricature, the reviewer emphasizes that the overall creative vision is compelling and largely successful.
In conclusion, Quand Carmen passe le détroit stands as a daring and largely triumphant reimagining of Bizet’s classic, with Eduard Ferenczi Gurban’s performance as Dancaire underscoring the production’s vocal vitality and ensemble strength.
Source: Zebuline Le Web
