The truth must be faced: my production of Carmen has infuriated many of the established opera critics. There have been some very positive exceptions, but nevertheless, there is a group who have responded negatively, with varying degrees of derision and nastiness, and in some cases, a willful misinterpretation of the concept, design and staging.
Naively, perhaps, I thought they might welcome a fresh take on a classic that has so often descended into dusty cliché. But no; some of them hated it and hated me for doing it.
There is, however, nothing in the production that I felt was untrue to Bizet; on the contrary, every single element arose from a process of repeated listening to the score. I became possessed by the music, by its dark undertow and contradictory themes.
The only change I made, structurally, was to cut the dialogue – itself an element of the opera that has been through endless permutations since the very first staging at the Opera Comique in Paris – and find other ways to communicate the same information, for example through the singers’ body language. Almost everyone involved in the production met this change with a sigh of relief, for the spoken dialogue in this opera often feels like redundant exposition.
All else is a matter of setting and interpretation.
Yes, the translation is, to a degree, designed to be specific to the production, but with one or two exceptions, does not depart that much from the original meanings in French.
Yes, there is a great deal more dance than any ‘normal’ production, one way of expressing the joy that is in the music, alongside its tragedy.
And the central character of Carmen is not a vixen, a minx, an incomprehensible bitch, the ‘dark continent’ of woman. This Carmen is a woman struggling for freedom in an impossible situation, which makes her story, in my view, both more humanly understandable and more universal in its implications.
Despite the critical onslaught, with its often misogynist overtones, after these last days of shock and mourning for my ambitions for this production and the humiliating experience of being personally attacked in print, I stand by what I have done, and will continue to be present at every performance, cheering on the singers and crew backstage and then mingling as inconspicuously as possible with the audience, my ear to the ground, listening to the reactions of the public for whom, ultimately, the show is intended.
Interestingly, there have been quite a few objections to the Carmen mini-site and my own blogs. Charges of hubris at my stated ambitions (to bring opera “crackling into the present”, for example, as if I wasn’t aware of the luminaries in opera who have already done so, repeatedly - not my intended message at all) are I think also a matter of territory. (Though in a nice symmetry, Bizet himself was attacked at the time for “boasting” about wanting to “change the genre of opera-comique.”) Composers, directors and other artists are not supposed to air their opinions. In fact the very existence of the internet can be seen as an affront against a historical division of labour: those who do it, and those who write about it.
Personally, I like this melting of boundaries. The voices of authority can be challenged. History can no longer be written by the few, ideas are no longer the possession of an elite; a genuine dialogue is possible across previously impenetrable barriers.
No-one is forced to read blogs. In fact you have to make an effort to find them. Those that do so form a self-selecting group who, hopefully, find resonances with their own experience.
Comments
I really loved reading about your opera production. You can't imagine how much it amuses me that they were so upset that you dared to do away with most of the dialogue!
For a while now I've been toying with the idea of making a film of Mozarts the magic flute but doing away with all that music that Mozart (who?) wrote and adding my own, and when I say adding my own music, I don't really mean some new classical score but my own kind of music as Mama Cass would say. Strange Freya music of some description. To be honest it never occured to me about the dialogue, it just seemed obvious that would have to go too! :)
Of course thats a film not a proper opera production (so perhaps more easily dismissed) but the response you have recieved makes me even more enthusiastic about the idea! I'm a vegetarian but I do so like the idea of sacred cow burger. ;)
Actually I just got offered some 35mm short ends so maybe...
Of course the big trouble with stuff like that is talking other people into it, they are always like "no Freya, that could only be a comedy" etc but maybe I could omit to mention some of the finer points. :)
Thanks for making me smile, and don't worry too much about the critics, they probably wanted to hate it from the start as they see you as a film director not a proper opera director!
Personally I think it's silly of them. It's not like there aren't plenty of fine traditional productions of Carmen for them to see! So what if it's a bit different or weird, just tell people it's a bit different and weird and leave it at that, no need to get upset.
I'm really sad that I've missed your video production of it however. Maybe you could make a DVD of it where you can view it in split screen or maybe select to view one or the other screen? I guess it depends how much you can get on the disc.
Anyway good luck and keep doing your thing!
love
Freya
No doubt, a certain portion of the populace will cling to what comfort the dusty cliche brings and there are those employed in the office of criticism that merely seek whatever handy receptacle to pour off the excess of hate in which they stew. No less,
through your melting and melding of boundaries here, I have been able to participate in a portion of your process from home despite that I was unable to travel to attend the production. The extent to which you bring process to center stage and allow it to be an extension of the breath and breadth of your production is part of what inspires me most about your art. The spill of the final product into this blog offers quiet revolution within the collective notion of what art encompasses. The extent to which your choice to "air" your process threatens the critics, as it questions traditional divisions between artist and populace, is testimony to the effectiveness--to the deep impact--of what you are doing and creating. I thank you for it, as your efforts here are carving doorways where once were walls. Thank you.
I made the trip from Montréal (Canada) to see, and secondarily listen to, Sally’s production of Carmen. I expected she would be crafting a unique production and I was not disappointed; I was seduced by many “details” (la vision occultée des communiantes! L’intégration multimédia; le rouge et le bleu tranchant sur une troupe monochrome, la rampe surélevée, just to name a few). Granted, I was annoyed by the discrepancies in the English version, obvious to those familiar with the original libretto (more so as translation is my profession…) and I only wish I could afford to see the show a few more times to be able to appreciate the scenographic subtleties to their full extent, undistracted by the anecdote (as in the case of films were the first screening is basically exposure to the story). I loved the dance numbers integrated in the production and could only wish for more.
I did not read the critics until now and I don’t know which have weight or not (whoever grants them this “weight”), but I can say I found some true nonsense there and it makes me mad that anyone can be granted the right to lapidate a production based on their own opinion.
Thank you Sally, you gave me the incentive to make a very nice trip!
Sally Potter's Carmen is the first opera I've ever seen -- I went last Friday because I know Sally's film work, which is never less than challenging and exciting. The first half was characteristically ironic and witty, and perhaps a little distancing in its focus on setting, costume and body language -- all truly inspired and full of Sally Potter references. The second half built to an emotional climax in the final duet, when Carmen is killed for daring to assert her right to freedom of choice. Devastating -- the whole experience has stayed with me in vivid memories of image and sound.
The hostile critical response can only be explained by a resistance to a 'postmodern', creative reinterpretation of a hugely popular classic. That's probably to be expected, and upsetting the critical establishment is no bad thing. I'm sure that this controversial, ambitious, clever, beautiful and tragic production will go down in history as one of the best Carmens ever.
Pam Cook
I am not a huge opera fan but I would love to have seen Carmen based solely on the images posted on your web site. Not just the images, the passion, care, intelligence and spirit you brought to the piece and that you expressed in your blogs. I for one am very thankful to you for finding the time and energy to share this process with me.
I was against a 'new carmen' as i rather like the cliche old style but, having looked around at the reviews and personal opinions it appears things split like this:
newspaper critics
shocked that anyone would dare do something different
old biddies who just go along as 'opera' is a thing to do
shocked that not a normal carmen
real opera fans who are bored of a traditional carmen
completely love it !!!!
Soooooooo,try not to be too hard on yourself Sally !
Wow, how scary for the rest of us who aspire to give our all to our art and try something different to see what the powers that be have been laying on Sally, a true genius and visionary. Sally, do not for one nano second question what you have given to your audience and to us here in this blog/forum as well. I saw that low review which disrespected this blog and I wished I could personally explain to that person how much you have shared and given to my artistic journey thru it... but telling someone like that something positive would only fuel their strange anger and need to try and show their power by way of dismissing something beautiful and positive.
First off, let me say that while I have not been able to travel across the ocean to see your show, which I would do in a heartbeat, I have viewed the trailer and it is very clear from the trailer that this is a lovely, progressive, inventive, and elegant staging of what has unfortunately often become a fossil, atleast here in middle America. Around here there are no such things as new inventive stagings of operas and every word you said is true, and don't back off of it. In many regions opera has stagnated and become a "time capsule" which is great for museums but not for living breathing art. Now I am sure there are many opera directors in big cities with new visions but obviously there are also forces ready to clobber them.... interesting how these same forces are at play also in film... you know, the screenplay manuals that tell you to make sure to have a plot twist on page 15.
Things I loved from the trailer.... Carmen's red being the only red onstage, FABULOUS lighting design with green on the forground only, the glass walkway, so cool and urban and souless, contrasting the dance which is eclectic and passionate. And yet the traditional music interpretation as a counterpoint.
Anyway, I could go on. The way you have handled yourself throughout here, for me, has been a true example of a mature and accomplished artist. During the time period that you have been writing your blog, I have undergone some very tough moments with my film work, and I have turned to this blog and understood that even someone of your accomplishment was facing similar struggles. I can tell you "where have all the auteurs gone?". These dark forces have beat it out of them. I only hope to one day be counted as an auteur who has arrived and survived, and on those days when I have doubts I have turned to your words. Never ever for one second doubt your work, your talent, your impact or what you are contributing.... it is truly beyond the grasp of those who attack you, and is their loss.
You are an inspiration, and every day that you move forward against the tide, I suppose I can try and do the same. I only hope I can do it with a fraction of your grace.
Mary H
I see nothing wrong with what you have done in an 'artistic' sense in creating a new interpretation of carmen BUT the problem is that opera is traditionally a form where little is changed, especially with a famous opera like carmen.
Perhaps if it had been called something else and said to be 'inspired by carmen' it would have had a better reception, as is, people are going along expecting 'in their head' something other than what is presented which causes a shock.
Personally, I thought your production was one of the most stimulating things I have seen all year and I stand by everything I said in its praise in my review (http://www.musicalcriticism.com/opera/eno-carmen.htm). Funnily enough, I wrote it before any of the newspaper reviews had appeared, so I had absolutely no idea that I would be in the minority.
One interesting aspect of certain reviews is their evident lack of understanding of what was going on. It's fine, I think, not to like something because of personal taste. But to condemn something out of ignorance is a bit pathetic. An instance of that in several reviews was the question of why the CCTV footage/projections ended after the first act. To me, it was obvious that it was because Don Jose is no longer a surveillance officer - we'd been seeing what he could see on his TV screens, and when he's gone off with Carmen it's no longer part of the imagery. Or at least, that's what I assumed, and it was so obvious to me that I didn't even bother mentioning it in my review!
I also felt annoyed by the condemnation of the musical performance in such terms. Gavin and Van Kooten were particularly excellent and I don't know how a reviewer could give it only one star on the basis of their singing alone.
I'd really love to see the production again. I took my mother with me, and her reaction was that 'this is the product of a phenomenal intellect and imagination'. I couldn't agree more and I would love to see you direct another opera.