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“An exciting place to be”: Carmen becomes first opera performed on Cockatoo Island

<p dir="ltr">Operas as we know them conjure up images of concert halls with soaring ceilings, tiered, cushiony seats, and singers projecting their voices for the whole audience to hear.</p> <p dir="ltr">To take opera beyond the theatre and into the great outdoors comes with plenty of challenges, many of which conductor Tahu Matheson has become all too familiar with while conducting the orchestra for <a href="https://www.oversixty.com.au/travel/domestic-travel/fireworks-motorbikes-and-opera-carmen-on-cockatoo-island-review"><em>Carmen </em>on Sydney’s Cockatoo Island</a>.</p> <p dir="ltr">“It’s quite tricky,” he tells <em>OverSixty</em>. “In particular, it’s the distance. The orchestra is a long, long way away from the grand outdoor stage.”</p> <p dir="ltr">With the orchestra located in one of the island’s historic buildings and the opera’s main stage on the water’s edge, Matheson and the cast rely on monitors to see each other and stay in time.</p> <p dir="ltr">“I can see the stage but only really from a distance,” he explains. “So really, I just listen, basically, and try and follow the singers as much as possible.</p> <p dir="ltr">“And they've got a big monitor, and when they can they take note of the monitor.”</p> <p dir="ltr">Naturally, the elements present another challenge to be overcome with the help of microphones, and the help of sound designer Tony David Cray, who Matheson describes as a “sound genius”.</p> <p dir="ltr">“He never stops working. When we’re all having a break, we hear moments of stuff that we’ve just done, and then he's just working on the sound and seeing if we can make this clearer and more beautiful, and more articulated,” Matheson says.</p> <p dir="ltr">But the most interesting part of this production for Matheson has been how it has changed from the original under the guidance of director Liesel Badorrek.</p> <p dir="ltr">“Carmen, probably one of the strongest women in opera, is being sort of interpreted just slightly differently, from a woman’s point of view,” he says.</p> <p dir="ltr">“There’s always a little bit of Carmen where, yes, she’s an incredibly strong character, but it’s definitely been written by a man, so a man’s idea of a strong woman.</p> <p dir="ltr">“And so Liesel just interprets that in a slightly different way… a strong woman from a woman’s perspective. I think it’s timely and it’s also slightly more interesting than we’ve had in the past.”</p> <p dir="ltr">Opera Australia’s version of <em>Carmen </em>draws attention to themes of violence against women at a time when sexual violence and coercive control have been in the spotlight.</p> <p dir="ltr">It also modernises the appearance of <em>Carmen</em> through costuming and set design, opening up questions of whether future productions could follow suit in a bid to appeal to modern audiences.</p> <p dir="ltr">But, Matheson says this can be tricky when dealing with an artform like opera.</p> <p dir="ltr">“I think there are some things about opera, just the artform itself, that are so thrilling and exciting that I don’t think you're going to experience them in any other artform,” he says.</p> <p dir="ltr">“It’s very difficult because it’s a hybrid of three or four different artforms, each of which, in itself, is capable of reducing the audience members to tears, whether it’s just the spoken word alone, or just music in a concert, or just a singer with a piano.</p> <p dir="ltr">“And then you bring all these things together and then you add a dramatic plot to it - it has the ability to be something so thrilling and so amazing.</p> <p dir="ltr">“But it also has this fragility because it depends on all four or five disparate parts working together. And so it can fail, and sometimes it does.</p> <p dir="ltr">“And I think it’s worth remembering as a member of the public that it has the possibility to be the most stunning experience that you’ve ever had in your life. </p> <p dir="ltr">“At the same time, we do need to modernise, think forward a little bit and [think]: How do we engage with people as well as wanting them to engage in the artform itself?’</p> <p dir="ltr">“I don’t think it’s as simple as going, ‘We’ll add more people in jeans and t-shirts so that people empathise with characters’, but somehow a mixture of both, I think it’s what we need.”</p> <p dir="ltr"><em>Carmen </em>on Cockatoo Island is showing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>.</p> <p><span id="docs-internal-guid-307abfe6-7fff-5780-c848-baefb1e73f21"></span></p> <p dir="ltr"><em>Images: Prudence Upton / Opera Australia</em></p>

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Fireworks, motorbikes and opera: Carmen on Cockatoo Island review

<p dir="ltr">Even if you haven’t seen <em>Carmen</em>, you’re sure to recognise its standout tunes that have cemented themselves into pop culture - and you won’t want to miss its current showing on Sydney’s Cockatoo Island.</p> <p dir="ltr">A first for the historical island, <em>Carmen </em>has been transported both out of its traditional theatre environment and its 18th-century Spanish setting, being reimagined with a gritty, modern aesthetic that matches Cockatoo Island’s former ship-building warehouses and preserved industrial heritage.</p> <p><span id="docs-internal-guid-6ffc56a0-7fff-4cf4-21da-30b33d883583">While leaning on a ‘rock ‘n’ roll’ theme, the vibe from both the setting - think scaffolding and piles of barrels and destroyed cars - and costuming - think modern military gear, denim, fishnets, leopard print and elements of Y2K fashion - is more reminiscent of punk, dystopia, and <em>Mad Max</em>, with a trio of stunt motorbike riders and fireworks as icing on the cake.</span></p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review1.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>Y2K, punk, and modern military styles collide in this adaptation of Carmen to create a dystopian feel that’s disconnected from a particular time or place. Image: Prudence Upton (Supplied)</em></p> <p dir="ltr">Taking <em>Carmen </em>out of a Spanish cultural context gives the production a more timeless feel too, with additional imagery projected behind the cast during key scenes pushing the audience to interpret Carmen and Don José’s increasingly toxic relationship with a modern lens - particularly regarding themes of violence against women and coercive control.</p> <p><span id="docs-internal-guid-0f4e64bc-7fff-a704-4515-020ff36cd57a"></span></p> <p dir="ltr">In a time where these issues are being talked about more openly, this shift in perspective couldn’t be any more relevant, even if it does come across in a heavy-handed way in some moments.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review2.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>In a world post-#MeToo and amid growing awareness of how issues such as coercive control victimise women, Opera Australia’s production draws attention to the negative elements of Carmen and Don José’s relationship. Image: Prudence Upton (Supplied)</em></p> <p dir="ltr">While many aspects of how <em>Carmen </em>is presented have been changed for this adaptation, the music has stayed true to the original - with one difference coming from the nature of presenting an opera outdoors.</p> <p dir="ltr">With the talented orchestra, led by conductor Tahu Matheson, located some distance away from the main stage in an adjacent building, the music is projected using speakers.</p> <p dir="ltr">Despite the challenging situation, which saw the conductor and singers rely on screens to see each other, the performance is just as flawless as if the orchestra were in a pit beneath the stage of a concert hall.</p> <p dir="ltr">When combined with the minimalist scenery and miked singers, it gives the production the sense of being less like an opera and more like a musical, with the grunge aesthetic making it seem particularly similar to Andrew Lloyd Webber’s <em>Cats</em>.</p> <p dir="ltr"><span id="docs-internal-guid-5389f736-7fff-fa80-477f-a03cfb971175"></span></p> <p dir="ltr">But this didn’t take away from the performance, with the talents of Carmen Topicu and Roberto Aronica (who share the roles with Sian Sharp and Diego Torre) as Carmen and Don José and their captivating chemistry shining through.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review3.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>Bullfighter Escamillo has been transformed into a leather-clad rockstar mobbed by an adoring crowd against a backdrop of wrecked cars. Image: Prudence Upton (Supplied)</em></p> <p dir="ltr">The reimagining of the bullfighter Escamillo (played by Daniel Sumegi and Alexander Sefton) as a rockstar with elements of Elvis - including an iridescent black cape - is refreshing and helps to convey his celebrity status to a modern audience and the contrast between him and the more humble corporal Don José.</p> <p dir="ltr">Micaёla also serves as a contrasting character, with her costuming of pastels and a more conservative, housewife-esque outfit highlighting her as the innocent village girl against Carmen’s bold and more revealing outfits, as well as her strength, independence and rebellious nature.</p> <p dir="ltr"><span id="docs-internal-guid-0657601b-7fff-1fbc-492f-bfa8d8aa60ef"></span></p> <p dir="ltr">With a cast already considered large for an opera, Opera Australia’s production has seen this number grow even more as the roles of Carmen, Don José, Escamillo, Micaёla and Frasquita are shared, with singers performing on alternate nights.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen1.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>Carmen’s costuming helps to convey the contrasting nature of its key characters, such as between childhood sweetheart Micaёla (right) and fiercely independent Carmen (left). Images: Prudence Upton (Supplied)</em></p> <p dir="ltr">Other updates to the opera, such as motorbikes taking on the roles of bulls at the bullfight and the use of street dance choreography throughout, are employed to create the feeling of timelessness and modernity, along with the meta nature of the set design and story, including the use of a <em>Carmen </em>poster as a curtain for Carmen to walk through.</p> <p dir="ltr">All in all, <em>Carmen </em>on Cockatoo Island is a refreshing take on a well-known opera that is sure to be enjoyed by regulars and first-timers alike, while its modern messaging will be sure to spark important conversations among those who see it.</p> <p dir="ltr"><em>Carmen</em> on Cockatoo Island will be performing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>.</p> <p dir="ltr"><span id="docs-internal-guid-ef076ffe-7fff-d66e-1c17-5ee9db2cb021"></span></p> <p dir="ltr"><em>Image: Prudence Upton (Supplied)</em></p>

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