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Experiencing Johan Inger’s Carmen is an electrifying affair, which is amplified by the masterful efficiency of the English Nationwide Ballet Philharmonic, underneath the baton of visitor conductor Manuel Coves. For these new to the story, the ballet follows Don José (Rentaro Nakaaki), a disillusioned soldier, as he turns into captivated by Carmen (Minju Kang), a full of life gypsy concerned in unlawful actions. The opening act envelops the viewers in an ethereal ambiance, illuminated by mushy white lighting. A toddler, symbolising innocence, enters the stage with a ball, solely to be juxtaposed towards a darkish power representing poisonous masculinity. Kang’s portrayal of…
Ranking
Wonderful
A darker, industrial and imaginative model of the visceral love story. See Carmen via Jose’s eyes.
Experiencing Johan Inger‘s Carmen is an electrifying affair, which is amplified by the masterful efficiency of the English Nationwide Ballet Philharmonic, underneath the baton of visitor conductor Manuel Coves. For these new to the story, the ballet follows Don José (Rentaro Nakaaki), a disillusioned soldier, as he turns into captivated by Carmen (Minju Kang), a full of life gypsy concerned in unlawful actions.
The opening act envelops the viewers in an ethereal ambiance, illuminated by mushy white lighting. A toddler, symbolising innocence, enters the stage with a ball, solely to be juxtaposed towards a darkish power representing poisonous masculinity.
Kang’s portrayal of Carmen is fascinating, as she enters the stage in flamenco apparel reimagined by the late Spanish designer David Delfín. Delfín’s progressive costuming offers Carmen a contemporary twist, portraying her as greater than only a femme fatale – she embodies a lady crammed with ardour and independence. The bullfighter then exudes the aura of a rock star, whereas the army figures show shiny magnificence.
As we journey via the reimagined streets of Seville, Carmen exudes charisma, her vivacious power contrasting with the creeping darkness enveloping Don José. Her reward to him of a yellow rose foreshadows the complexity of their relationship, as yellow roses are the image of jealousy. Carmen’s riot towards conformity units the stage for her tragic demise.
The minimalist set design by Curt Allen Wilmer and Leticia Ganan is a stroke of genius, with meticulously organized metallic prisms hinting at an imposing authority lurking beneath simplicity. This transformative set serves as a canvas for the characters’ internal struggles, seamlessly transitioning between scenes.
The climactic confrontation between Zuñiga, certainly one of Carmen’s suitors, and Don José is depicted in a mesmerising matrix-like choreography, culminating in a surprising act of violence that leaves the viewers breathless.
Within the second act, Don José’s descent into darkness is palpable, as he grapples with the realisation that his hopes won’t ever be fulfilled. Nakaaki’s portrayal is fascinating, conveying internal turmoil even in moments of stillness. That is the place the meticulously crafted lighting design by Tom Visser enhances each second, seamlessly transitioning from vibrant hues to the bleakness of the soul’s darkest hour.
Carmen affords a contemporary interpretation of a timeless story, weaving collectively components of dance, music, and symbolism to ship an unforgettable expertise. Regardless of the strain constructed all through the efficiency, the ending right here feels considerably rushed, leaving a way of unresolved longing in its wake. Nonetheless, though some might need extra closure, the journey itself is undeniably fascinating, leaving an everlasting impression on all who witness it.
Choreography: Johan Inger
Music: Georges Bizet and Rodion Shchedrin
Costume Design: David Delfín
Lighting Design: Tom Visser
Set Design: Curt Allen Wilmer and Leticia Ganan AAPEE with estudiodeDos
English Nationwide Ballet / Johan Inger’s Carmen performs at Sadler’s Wells Theatre till 6 April.
Additional data and bookings could be discovered right here.
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