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Rihab Chaieb as Carmen with Dmytro Popov as Don Jose | Photo: Richard Hubert Smith

A modern or ‘dystopian’ setting for the new production of Bizet’s Carmen to open the Glyndebourne festival was always on the move: between the outside of a factory to a Dalston-esque underground club, through to a camp on a mountain with a moon-landing sparcity, then ending at the eponymous bullring - with a twist. It was a masterful display of perspective and thought from the design team, lead by Riccardo Hernandez, with Malcolm Rippeth’s ingenious lighting providing creative nuance and rhythmic fusion with the score.

The role of Carmen, played by Rihab Chaieb, requires a vocal power that meshes with a dramatic, sexual intensity. Chaieb demonstrated that reading of Carmen as both independent and vulnerable to the pulls of love. Think, Samantha in Sex and the City, though I was after more self-obsession and less introspection. Though captivating, Chaieb’s performance often leant on the sultry moodiness, with need for greater range of emotion and less polite anger.

The London Philharmonic Orchestra lead by Robin Ticciati deserve a central role in this review, pulling out the stops for surely one of the tightest and most vibrant readings of Carmen heard in a good while. Tight as a drum with the performers, Ticciati’s band resonated Bizet’s score with all the excitement needed to launch the season. Solos from flute, cello and string quartet combinations stood out for their beauty.

Act II's underground club | Photo: Richard Hubert Smith

Carmen’s love interest-turned-murderer Don José, played by Dmytro Popov, pulled us in with his electric high register, whilst his childhood sweetheart Micaëla, played by Sofia Fomina, brought perhaps the most palpable show of emotion to the performance with her aria ‘Je dis que rien ne m’epouvant’, together with the strings of LPO. She is a magnificent musician, true connector and performer.

Moments of the production, notably in Acts II and III, felt overcrowded on the stage, with the focal point being unclear in spite of clever moments of humour, including my favourite moment - the appearance of a bull’s head attached to a unicycle in Act IV. The Glyndebourne Chorus, directed by Aidan Oliver, were on fine form, joined by a large and engaging children’s chorus in Act I and for the opera’s finale. It was in this finale that Diane Paulus’s direction displayed its full impact, with a section of huge arena holding chorus members and children, pulling us in despite backs turned to the audience. The sound, lighting and set was electrifying.

'Smoking' choreography | Photo: Richard Hubert Smith

Other mentions must go to a seductive Kezia Bienek as Mercédès, Dmitry Chebylov as the detestable, indefatigable muscle-flexing Escamillo and dancers Camilla Curiel, Marta Gimeno Nafria, Jess Hull, Thomas Kerek, Lewis James and Andrea Paniagua with choreography by Jasmin Vardimon. Though swallowed at some points in the opera, their shining moments, often in musical act overtures, brought a much-needed smoking element to the drama.

Some shining brilliance paired with the highest standards of musical performance made this experience one not to be missed this summer.

Carmen is at Glyndebourne until 24 August 2024 | glyndebourne.com