Cher Public

Mike the knife

Those interested in sampling Michael Fabiano‘s “glowering demeanor” and “sensitive, vibrant lyric tenor” in Carmen  (NYT)  may do so so via ARTE, or, si cette vidéo n’est pas disponible dans votre pays…. 

You can try one of the usual unofficial sources.

Image via Instagram.

  • Cicciabella

    This is a very interesting staging. Carmen the opera plot is role play therapy for a man who takes on the role of José. Many critics absolutely hated it, but the Financial Times gave it 5 stars. Fabiano and D’Oustrac (great-niece of Poulenc) both sing and act well, but Fabiano’s acting is really worth checking out. He’s really fantastic.

    • Liz.S

      Carmen the opera plot is role play therapy
      Sounds so familiar. Didn’t he try that (or similar?) method already with Il Trovatore? Hope it’s not the sign of the well of his creativity running out.
      Carmen fell out of my interest also, but yup, I’ve got to check out our Fabulous Fabiano! :-)

      (… and of course Pablo. I thought his recent Holländer has much more room to develop, but this piece should be one of his forte.)

      • He did take a similar approach to Trovatore. Of the 4 or 5 Tcherniakov productions I’ve seen, it was the one I like the least (by far). But even then, it still had moments of interest. And at first, I was quite game to along with his concept (it just fell apart in the second half). I’ve heard from a friend who watched the stream that this Carmen is much better executed.

        • Liz.S

          That’s a good news for me.
          I didn’t find that Il Trovatore worked well, and having watched it through is registered as a “painful experience” on my relative pleasure scale in my memory (I didn’t find the offering in the music dept was strong enough to compensate the direction also.)

          So I’m really relieved to hear this time it’s better executed -- thank you! :-)

          • Porgy Amor

            Liz, I found that the production itself was a little like being in analysis or therapy along with Don José. It can be frustrating along the way, and you stick with it (if you do) hoping for a breakthrough. This definitely builds to something, and I’m glad to have seen it. There are riveting performances by Fabiano and d’Oustrac, and a very promising one from young Elsa Dreisig, one of Domingo’s recent Operalia winners. Simpson is not bad, but the Escamillo scenes are not highlights.

            I felt roughly as you did about the similar Trovatore, so I was wary. There, I liked Minkowski’s conducting and some of the performances, especially Scott Hendricks’s. His Count had a similar arc to Fabiano’s José, at first taking it all lightly and then coming unraveled as the “role play” started to hit too close to home. I admired Poplavskaya for making something moving of the staging of “D’amor sull’ali rosee” (with Manrico stuffed in a cabinet overhead). It’s not one I’d see again, though, and the Carmen is a better application of a similar idea.

  • fletcher

    This production looks fascinating and I love d’Oustrac so I guess I’ll fire up the ol’ VPN and check it out. I’ll reserve judgment till I’ve seen it, but reading the NYTimes review brought to mind Verrett’s irritation at (male) directors making Carmen into the story of Don José and his issues rather than a woman and her choices.

  • laddie

    There’s new life for Don G as well: