Georges Bizet: Carmen

Afficianados the world over must surely be grateful for the release of this historic 1978 new production for Vienna. The superb cast is headed by a vocally strong Obraztsova and clarion Domingo, with special merit to the Micaela of Isobel Bchanan. Kleiber (in one his rare forays into the opera pit) leads a brilliant reading, at times very fast, but thrilling always. Zefirelli's production is over-the-top, and he's adept at pulling both nuanced performances from his principles and expertly managing the large crowd scenes. It's a minor pity, therefore, that the technical aspects of this DVD fall somewhat short. Yes, it's a soon-to-be 30 year-old recording, but audio remastering hasn't altogether corrected a somewhat dull and shrill (at times) soundtrack. It's not enough to get in the way, but does take away a star in my opinion.Nonetheless, highly recommended.

5 minute ovation against Obratsova and for Domingo. Kleiber and his orchestra are the star.

Perfect!!!

Great

Of course many different great artists made this production a great one but I decided to buy this DVD only because of Carlos Kleiber and I couldn't be happier.

The DVD skips in places. It's ok though. It was not new.

Second only to the movie prodction of Bizet's opera CARMEN. First class stageproduction. Seasoned professionals in all roles.

Having just been very impressed with the Met's 2010 "Carmen" with Garanca and Alagna, I thought I would check out this one too. It's from 1978, at the Vienna Staatsoper, with Carlos Kleiber conducting, and that last fact made it quite an occasion at the time. I strongly recommend it too, and the following comments indicate differences between it and the 2010 Met production. I have heard good things about an earlier Met production with Carreras, Baltsa, and Levine, so I might have to get that one too!1. The Met production has a much clearer emotional and narrative arc, and the director, Richard Eyre, asked for (and got) a lot of detailed acting from his singers. A sense of danger is present from the start, and it grows or deepens as the opera goes on. Zeffirelli, the director of the 1978 production, is much more into spectacle, and the idea of consistent characterization goes by the board. An exception is Domingo's Don Jose, and I'm betting that HIS emotional arc is owed to his dramatic intelligence rather than to anything his director required. Domingo gives a great performance, musically and dramatically, reaching an Otello-like intensity in places,including, of course, the final scene.2. Obraztsova hasn't a consistent take on Carmen, as Garanca does; only perhaps in response to the Flower Song does she seem moved by Don Jose's declaration, and then, of course, she has to turn on him in scorn. Eyre's conception for Garanca makes more sense, for Carmen's real interest in Jose has been manifest from the beginning, entailing her rejection of Zuniga. The whole Zuniga-Jose rivalry doesn't figure at all in the 1978 production, where Act 1 is played pretty much as comedy, with no undercurrent of threat, especially masculine threat to women, which is palpable in the Met production.3. It follows, then, that this production works from scene to scene, rather than building. And there's plenty to enjoy in the scenes. That's largely due to Kleiber, who drives the ensembles with terrific elan. Act 2 is a highlight of the Met production, and it is here too for completely different reasons. It has a number of ensembles, including choral work, and Kleiber gives enormously enlivening accounts of them. Add to that consistently fine singing -- leaving issues of character aside -- and what's not to like? Kleiber's conducting alone is a good reason to own this DVD. There's nothing wrong with Nezet-Seguin's conducting for the Met, but Kleiber is just something special.4. The supporting singers are very good. Mazurok is much more secure, especially at the top of his voice, than Tahu Rhodes in the Met account, and though his French is poor, the spirit is right, and he looks good. Isobel Buchanan is an excellent Micaela, singing as well as Frittoli and looking the right age. Kurt Rydl is a sonorous Zuniga, though (not his fault) he's made into almost a comic figure here.5. Then there's the issue of the voices. Domingo and Obraztsova have much larger voices than their Met counterparts, so they generate a different kind of excitement. Obraztsova has a huge voice, with more colors than Garanca, if not so beautiful -- though she can do beautiful too. It's a "force of nature" kind of voice that arguably makes sense for Carmen. So even when you think that she's making standard operatic gestures (as she does even in the final scene), the singing is something to hear. Domingo doesn't make standard operatic gestures. He sings to his partner(s) as the situation demands, and the voice is simply wonderful in its own right too. That enables him to communicate a degree of intensity that is beyond Alagna's means, fine though the latter is. The principals' vocal endowments are the other reason to get this DVD -- though be warned: the sound recording doesn't always do them justice and some allowances are needed.6. Although Zeffirelli doesn't take the long view as a director, his stage pictures always look good, and although some people complain of his crowding on stage, surely "Carmen" is an opera that can take it. The six or so horses in the final act are just the icing on the cake.