![]() But it doesn’t take itself too seriously, and it’s solidly cast: last-minute stand-in Erin Caves brings an incisive tenor to Don José, Phillip Rhodes is the testosterone-driven Escamillo – either a rodeo rider or a country and western singer, perhaps both – and Camila Titinger’s soft-toned Micaëla has power where it counts. You can’t make this opera into a story of female agency without stretching its narrative fabric a bit thinly. At the end it’s the women and their daughters who see the horror of what’s happening the men are oblivious.ĭoes all this work? Yes and no. He’s already running away from a heavily pregnant Micaëla - whose first scene, in which she’s harassed by a roomful of men in uniform, is right now even more unsettling to watch than usual. Why she zeroes in on scruffy Don José is anyone’s guess. But backstage, with her wig off, she is Carmen, looking for a father for the daughter this production invents for her. Descending on a swing in a scarlet Playboy bunny outfit and surrounded by fluttering ostrich-feather fans, she sings the habanera almost as a send-up, and her “ prends garde” is more tease than threat. ![]() Photograph: Tristram Kenton/The GuardianĪs La Carmencita, Williams is the bar’s lead attraction. Phillip Rhodes as Escamillo and Williams as Carmen in Opera North’s production.
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