Alexander Campbell

The orchestral sound was vibrant and sometimes overwhelming; those listening carefully will undoubtedly learn about and marvel at details of Verdi’s orchestration.

It’s not just the visually breath-taking, appropriately cinematic, fluid beauty of the presentation that compels, but the dramatic intensity created by the symbiotic match of music, multi-layered narrative and stagecraft.

Musically, the evening is in the deft hands of Evelino Pidò, who once again demonstrates his understanding of Donizetti’s style, musical wit and sensitivity. The vivacious moments of the score have infectious lightness and sprung variations of pace whilst the more emotionally laden melodies get their due.

At least the company has assembled a good ensemble of old pros and new blood, with interesting results.

This revival catches the balance between the two extremely well, and Pelly’s whimsical take contributes greatly to the charm, although some aspects have lost a little bite/element of surprise after twelve years.

But is it really Bizet’s Carmen? It’s a great story that has seen many theatrical realisations with the use of the composer’s irrepressible music (think Carmen Jones, Matthew Bourne’s Carmen...).

The settings generally surprise, intrigue and enchant, notably the recreation of the Garden of Eden replete with an apple tree and a lurking serpent (mentioned a lot in Da Ponte’s text). Each design morphing into the consecutive one enhances narrative flow, and beautifully lit. This is a provocative and at times rewarding Così.

The very distinct tinta of Verdi’s orchestration with its reliance on sombre soulful woodwinds and shimmering shadowy, often undulating strings as well as a wide dynamic range is captured to perfection. Pacing is well-judged and the larger-scale set-pieces such as the central section of the council chamber scene have their due weight.

Luckily the musical offering is outstanding.

Great things going on in the pit as well – Michele Mariotti quickly gave note that his was going to be an interpretation of propulsion but also of statement.

Cleverly, the pantomime elements of the first Act are toned-down in favour of mystery and uncertainty, whilst the protracted and potentially wearisome trials of Tamino, Pamina and Papageno have a persuasive lightness of touch and flow.