Ayanda Tikolo, Luvo Rasemeni, Pauline Malefane, Mhlekazi (Whawha) Mosiea, Bongiwe Mapassa, Noluthando Boqwana & Zoleka Mpotsha in "U Carmen" (photo: John Page) |
ArtsEmerson's current offering is “U Carmen”,
created and performed by the South African theatre company The Isango
Ensemble, so memorable for their production last season of Mozart's
“Magic Flute”. This time around they've adapted the popular 1875
opera by Bizet, setting it not in the bullrings of Spain but, as the
program says, “a land which somehow borders France, Spain and South
Africa”. (Elsewhere in the past in print it was identified as the
Capetown township of Khayelitsha). At 100 minutes including a twenty
minute intermission, it's a very truncated version of the original
“Carmen”, which might profit from being presented as a one-acter.
It must also be said that Mozart lent himself more to marimbas than
does Bizet. One missed the more dramatic orchestrations that this story of passion necessitates.
This adaptation follows the narrative of the original
opera reasonably closely, though some familiarity with it would be of
benefit. Whether it was due to diction issues or the balance between
musicians and singers, much of what remained of the libretto was
incomprehensible, and might as well have been sung not in English but
in Xhosa, one of the eleven official languages in South
Africa. (Then again, perhaps this was a blessing given some of the
intelligible lyrics such as “in this neighborhood your timing
wasn't good”). But the singing was on the same extraordinarily
level as it was on the company's visit last year in solos, duets,
trios and choral work. While all were excellent, the standouts
were Pauline Malefane as Carmen, the gypsy girl, and Mhlekazi
(Whawha) Mosiea as Don José,
corporal of the dragoons. Much of the singing was a cappella
this time around.
Under the direction of Mark Dornford-May (who was also
responsible for the adaptation from a translation by Rory Bremner),
The Isango Ensemble shone once again, especially in the fabulous
choreography by Lungelo Ngamlana and the lively Music Arrangement by
Conductor Mandisi Dyantyis. The effective Lighting was by Chloe
Kenward, with the set (unattributed) the identical one utilized last
season for “The Magic Flute”.
Any visit from this talented ensemble is a welcome one,
and “U Carmen” is a production that's been identified with the
company from its inception. One looks forward to savoring an annual
performance as the company develops and expands its repertoire. For
now, one can sit back and admire the gypsy in their souls, and, since
it's another unshod performance, their soles.
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