Carmen

Directing notes
Personally, this is the first time I have ever tackled Carmen, a title that is both loved and feared. Although I have often played it when I was accompanist on the piano, I have never entered, even as assistant director, into the scenic dynamics of such a complex score. So I personally experience a reunion with an old friend, and at the same time panic in the face of an unsolved and dense mystery. I started from the so-called “Tema del Destino”, the only true leitmotiv that accompanies the score, and on that, together with set designer Emanuele Sinisi, costume designer Annamaria Heinreich, and with the contribution of the Imaginarium group videos, I opted for a certain spoliation from a pseudo-Spanish ambience. We will see on stage a sloping platform enclosed by walls corrupted by time, on which a large central wall acts, which, depending on the scenic and emotional situations, will reveal “other”spaces, the world of freedom, of desire, of going beyond the conventions that society forces us to follow for fear of the destabilisation provoked by an “other”universe, different and unknown. We are frightened and seduced by Carmen, we elude her but at the same time we are hypnotised by her, and she meanwhile «thinks, because it is not forbidden to think». And while Carmen remains true and consistent to herself, anyone who stands in her way changes, evolves, lays bare their fragile and vulnerable souls, perhaps dies in order to be reborn.

Stefano Vizioli

DIRECTOR'S NOTE
&It is with great enthusiasm that we prepare to tackle Georges Bizet's opera Carmen, a masterpiece of the operatic repertoire that continues to enchant audiences around the world. Composed between 1873 and 1874 and premiered in 1875, Carmen revolutionised the opera landscape, not only because of its innovative music but also because of its bold narrative and deep, universal themes.
Set in 19th century Spain, the opera tells the passionate and tragic story of Carmen, a young gypsy girl who defies all social conventions to live her life in complete freedom. Her tumultuous relationship with Don José and the charming toreador Escamillo, allows Bizet to musically explore overwhelming feelings of the human soul, such as sensuality, passion, and jealousy, capturing their essence through incredibly expressive melodies and rich orchestral colours.
For the conductor, one of the most extraordinary aspects of Carmen is its musical variety: the opera is studded with unforgettable melodies, recurring motifs, and orchestral writing that ranges from the lyrical to the dramatic. The score is composed of an extraordinary fusion of genres, including elements of Spanish folk music, bel canto, and melodrama.
Although Carmen(1875) predates the official birth of verismo operismo in Italy by some twenty years, many of its features anticipate this current. From a musical and dramaturgical point of view, Bizet's opera moves away from idealised romanticism and is more oriented towards a realistic and raw representation of life. Bizet includes in the score rhythms and melodies inspired by Spanish folklore (the Habanera originally from Cuba, or the Seguidilla from Andalusia) not as a mere exoticism, but to characterise the characters authentically. The orchestral colour does not idealise, but restores the warmth and sensuality of real Spain.
The story is dominated by elementary passions (love, jealousy, freedom, death) and a tragic fatalism that spares the spectator nothing. The brutality of the feminicide, without poetic mediation, belongs much more to Mascagni's verismo than to Meyerbeer's romanticism.
From my point of view, it is fundamental, as a conductor, to capture the dynamism, colour and intensity of the emotions contained in every note of this masterful score. We must work together to bring the various characters to life: the vitality of Carmen, the vulnerability of Don José, and the charisma of Escamillo. Each section of the orchestra plays a vital role in this musical dialogue. The woodwinds, for example, bring freshness and playfulness, while the brasses have the task of enhancing the moments of passion and conflict.
Rhythm, moreover, is a key element in Carmen; Bizet is a master at creating dramatic tension through the use of rhythm. It is essential that we interpret these sections with a sense of urgency and fluidity, maintaining a balance between precision and expressiveness. Coordination between stage and orchestra must be impeccable, as each bar contributes to the construction of the atmosphere and the telling of the story.

Sergio Alapont