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The arch-manipulator Carmen (Iryna Ilnytska) seduces her captor Don José (Robert Felstead) to avoid the consequences of her actions |
Following the resounding success of the well attended 'Viva Verdi' recital in the Rougemont Room at Exeter Library, featuring the voices of mezzosoprano Iryna Ilnytska, soprano Melanie Mehta and tenor Ian Spackman, with piano accompaniment by their new but delightfully familiar pianist, Tim Lawrence-Othen, The Exeter Opera Group returned in full strength for a fully staged performance of George Bizet's celebrated opéra comique - 'Carmen'.
The setting this time was the airy and sun-drenched ballroom of Exeter Castle, just a few hundred yards across Northernhay Gardens from the Rougemont Room at the library. A capacity audience watched and listened entranced as the performers, framed by the giant bay windows of the ballroom, and in the glorious golden light of the afternoon autumn sun streaming through them, recreated the stirring story of the rebellious and unpredictable cigarette factory worker Carmen and her many ill-fated lovers.
The action began very subtly with the tinkling of a tiny hand-bell, suggesting the 'tringles des sistres' (tambourine bells) which 'tintaient' (jingle) in the song and dance routine of Carmen and the 'zingarellas' (gypsy girls) which we know is soon to come. Having got attention, the Director stepped to the stage and explained briefly and succinctly the context of the opera's composition, and gave a brief synopsis of the action in the first half. This helps greatly with following the French lyrics (which are beautifully enunciated in any case!) The same introductory explanation was also provided for the second half.
Immediately the company's new pianist, Tim Lawrence-Othen, ably assisted by Exeter Opera regular Richard Lucas, launched into the rousing overture to the action. The cast assembled, identifying their characters through consummate silent acting and, after a big chorus to open, the first aria goes to St David's Players veteran Ian Spackman. As Morales, Corporal of Dragoons, Ian sings to the messenger Micaëla (Anna Tophill) explaining that the man she seeks (Don José) is not yet on duty.
Suddenly, as the bell rings to signal the end of the factory shift, Iryna Ilnystka appears as Carmen with her colleagues, and immediately begins her famous Habanera "L'amour est un oiseau rebelle" (Love is a rebellious bird). As in many previous recitals Iryna's performance is utterly bewitching, as well as highly embarrassing to any available male cast members and even members of the audience. Iryna picks on each in turn, warning them how dangerous it is to court her affections, ending each interaction with the portentous words "Prends garde à toi!" (Watch it!)
Poor Ian is her final and most unfortunate victim. Stripped of his uniform and forced to the ground he is finally discarded by the temptress Carmen. Meanwhile Don José has appeared, his part performed by Swindon baritone Robert Felstead. Robert is a wonderful new addition to the Exeter Opera cast and, although initial mute as he observes Carmen's outrageous behaviour without being at all impressed, he later sings in duet with Anna Tophill who, as Micaëla, has brought a letter from his mother entreating him to leave the army, return home, and marry Micaëla. This complex and slightly embarrassing scene allowed both singers to demonstrate their spectacular abilities.
Almost immediately, Carmen is arrested by the Officer of the Guard, Zuniga, played by the powerful bass-baritone Nick Young, dressed imposingly in desert camouflage reminiscent of Norman Schwartzkopf. Because of the violent crime she is accused of, Don José is ordered to bind Carmen firmly so she cannot escape. Carmen uses her powers of seduction to convince Don José to fall in love with her and let her escape, even though he will be punished with prison. This is a deception from which Don José will never recover.
Carmen, who runs away to the mountains to live with the gypsies, is joined by two lascivious 'zingerellas', Frasquita and Mercedes, played by Clare Northcott and Rachel Phillips. The plight of poor Don José is soon forgotten as they sing their exhilarating trio "Les tringles des sistres tintaient" (The tambourine bells jingle). The singing and dancing are intoxicating and transport the audience into the exciting and invigorating world of the zingarellas.
As soon as they have finished their captivating performance, a new character appears. Stephen Moseley, resplendent in his 'trace de luces' (suit of lights) introduces himself as the torreador, Escamillo. Dashing and brave he laughs at death. What better person to succeed where others failed so tragically in their ill-considered involvements with Carmen. The whole cast welcome him as their hero - including Carmen.
Although the opera is billed as 'comique', the arrival of this illustrious rival, and Don José's subsequent return lead to inevitable tragedy - which Micaëla tries vainly to avert. One has to be there to fully experience the following action and incredible singing and acting by the principles and cast. For the entire second half of the programme the audience were on the edge of their (highly ornate) seats gripped by a story which Bizet knew had it all - love, conflict, violence, regret - all expressed by the singers with exceptional dramatic flourish and musical accomplishment.
Many thanks to Iryna and her fellow Director Nick Lawrence for this spectacular production, and to their Musical Director - Escamillo himself, Stephen Moseley. One can't praise the accompanist Tim Othen enough for his masterful interpretation of the orchestral score of the opera as solo piano - alternating with the exceptional Richard Lucas with whom he played an elaborate game of musical chairs, swapping places to take turns playing and page-turning, and inadvertently adding beautifully to the action taking place on stage. And there is one more player to thank. The return of Don José is heralded by a trumpet fanfare provided by house trumpeteer, Harry Stanwell.
The opera is created all over again tonight at the Mary Harris Memorial Chapel at Exeter University's Streatham Campus, setting for Exeter Opera Company's 'Dido & Aeneas' in January this year (see previous post). For those unable to enjoy tonight's performance, there will be another opportunity to share this memorable experience at the 2026 Teignmouth Classical Music Festival where Exeter Opera Group will perform 'Carmen' in St Michael's Church Teignmouth (on the seafront) on the evening of Saturday 7 March - with a new billing of Suzanne de Lozey playing flute in place of Harry Stanwell's trumpet.
Meanwhile Iryna and Exeter Opera Group continue their series of operatic revues and staged performances. Follow Phonic FM's 'Classical Journey' programme and Luch Càise-Dearg for details of performances to come.
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