Àlex Ollé’s 2021 production of Carmen has returned to the New National Theatre Tokyo after four years. This interpretation is set in a contemporary world where Carmen is an Amy Winehouse-inspired lead singer of a rock band. Initially carefree and wild, she falls for Don José, a police officer, but she is soon drawn to Escamillo, a singer and celebrated bullfighter. The parallel drawn between Carmen and Amy Winehouse renders Carmen’s story more resonant, as the familiar arc of a superstar’s rise and fall evokes understanding and sympathy from the audience.
The set is impressive with metal tubular structures mimicking a rock concert stage. Carmen, accompanied by her band and crew and in a red and white polka-dot costume, fits right into the setting; she is the modern-day rockstar.
The cast delivered strong performances. Brazilian tenor Atalla Ayan’s Don José was particularly impressive, his rich, resonant voice carrying the character’s emotional turmoil from start to finish. His anguished cry, “Oh my Carmen, I am yours!” deeply moved the audience. While a deeper timbre is usual for Carmen, Samantha Hankey brought an electrifying presence to the role. Her Habanera was beautifully sung, her dancing was captivating, and she convincingly embodied the charisma of a superstar. You could feel her unwavering determination for freedom, a quality that very much needed to be convincing in a production where Carmen’s independence as a woman was a key statement. Lukasz Golinski’s Escamillo exuded star quality, confidently striding down the red carpet in his striking pink toreador costume. His performance of the Toreador Song was imbued with both swagger and seduction.
Hare Ito’s Micaëla, while technically proficient, fell slightly short in conveying the full emotional depth of Je dis que rien ne m’épouvante, though her sonorous voice remained impressive. Akiko Tomihira and Shoko Sogo brought lively energy to the roles of Frasquita and Mercédès, Carmen’s ever-loyal bandmates.
Visually, the production was stunning. Marco Filibeck’ lighting design established the perfect atmosphere for each scene, especially in Act II at Lilas Pastia’s tavern, where the pink, blue, brown, and green hues were striking, evoking a sensual and mysterious mood. The lighting of the next scene was made minimal with glowing white lights against a black set, effectively heightening the cold relationship between Carmen and José.
The Tokyo FM Boys Choir, dressed as Japanese elementary school students, gave an excellent performance in Act I, their singing and synchronized marching adding charm to the scene. Under the baton of the energetic Gaetano d’Espinosa, the Tokyo Symphony Orchestra delivered a dynamic reading of the score. The last act was especially gripping, with the music successfully intensifying the sinister menace of Don José’s stalking. The orchestra’s castanet player also deserves special mention for the brilliant contribution.
Ultimately, Carmen is a story of a woman’s defiance and relentless pursuit of freedom—an enduring theme that continues to resonate. Ollé’s concept of equating Carmen’s plight with that of Amy Winehouse brings the beloved opera to a new age, and hopefully succeeds in making it more accessible and relatable to a younger audience, as the director intended.
Venue: The New National Theatre Tokyo
Composer: Georges Bizet (1838-1875)
Libretto by Henri Meilhac and Ludovic Halévy, after the novella by Prosper Mérimée
Director: Àlex Ollé
Conductor: Gaetano d’Espinosa
Set design: Alfons Flores
Costume design: Lluc Castells
Lighting designer: Marco Filibeck
Cast: Samantha Hankey, Atalla Ayan, Lukasz Golinski and Hare Ito
Until 8th March 2025
Photograph: ©Rikimaru Hotta/New National Theatre Tokyo
Running Time: 3 hours 10 minutes including 1 interval
Review by Miho Uchida