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SCENE IT: Cape Town Opera's CARMEN revives Bizet's vision with vibrant vocals
- May 23
- 4 min read
Barbara Loots
Cape Town Opera returns to the grandeur of the classic repertoire with a dazzling new production of Georges Bizet’s beloved CARMEN onstage at the Artscape until 31 May 2026. The production stars Nonhlanhla Yende and Lukhanyo Moyake, and features Cape Town Opera’s Vocal Ensemble, the Children’s Chorus, along with the Cape Town Philharmonic Orchestra conducted by Maestro Tim Murray. The production is directed by Steven Stead.
The Cape Town Opera presented opening night performance of CARMEN (19 May 2026) in an history moment not only gave audiences at the Artscape an opportunity to experience the magnificent vocal performances on offer, but listeners on Fine Music Radio too courtesy of a live broadcast. One of the most popular and electrifying works in the operatic canon, CARMEN always promises an unforgettable theatrical experience. It is then no surprise that audiences (and listeners) have been raving about this production at the Artscape Opera House.
This production takes Bizet’s tale of passion, freedom and fate and sets it against the backdrop of the 1930s Spanish Civil War. Although performed in French, English and Xhosa surtitles are projected, so nothing of Bizet’s enticing tale gets lost in translation.
Having a live orchestra always adds to the magic of a night at the theatre, but here the philharmonic rises to new heights. The orchestra is a huge part of the success of this vivid staging of CARMEN. Speaking to someone who listened to the live broadcast, this became even more clear: With CARMEN the Cape Town Philharmonic Orchestra conjures up imaginary through notes... closing your eyes you can practically see the tale in all its glory through the music. The Orchestra alone is reason enough to see this production. They are conducted by Maestro Tim Murray, and you can read all about his preparation for the show here: Maestro Tim Murray excited for CARMEN to ignite the Artscape stage.
CARMEN perhaps need introduction, but just in case, the scene is set: Bizet's opera follows the story of a fiery gypsy, Carmen, with whom the naïve Don José falls in love. Don José abandons his soldiers post and his fiancée, and arguably in doing so his mother too, to follow Carmen. But she, being a free spirited woman, leaves him for the dashing bullfighter, Escamillo. When Carmen refuses to come back to Don José he kills her in a jealous rage.
CARMEN famously is a mezzo soprano's operatic playground, and Nonhlanhla Yende vocally shows off the depth of her rich voice and magnificent range in taking on the iconic role of the fiercely independent leading lady. The only part of her performance that was not fully convincing was her initial seduction of tenor Lukhanyo Moyake’s Don José in her attempt to escape in Act 1, after being arrested following a brawl with another fellow factory worker. Yende's acting at that interval feels a step behind the grandeur of her vocal performance. An argument can perhaps be made that Yende’s Carmen is a strong, modern feminist interpretation of the role as opposed to the standard sexy femme fatale and therefore the focus should not be on seduction. As a feminist, I then ask though, can’t Carmen be both? A liberated, fiercely autonomous woman can after all still have agency in her choice of when and how to be seductive. One can do so without rigidly getting caught up in the traps of gender rules and roles.
Seduction scene aside, the production does up the energy with the Act 2 tavern scene, when the audience is introduced to toreador Escamillo (Conroy Scott), Frasquita (Brittany Smith), Mercèdes (Nica Reinke), Le Remendado (Van Wyk Venter) and Le Dancaïre (Riaan Hunter). Along with Yende and Moyake, these operatic stars create such a vibrant scene that you almost want to raise a glass to them there and then in praise.
Vocally the highlights of the show definitely include the Habanera ("L'amour est un oiseau rebelle"), Carmen’s entrance aria that describes love is a rebellious bird that cannot be forcibly tamed, and the Toreador Song, where Escamillo boastfully sings about the thrill of the bullfight –this being all ego (as the character demands) and all brilliance left in the hands of enticing Conroy Scott.
From there the production builds to a striking climax driven by themes of dangerous obsession and fate, the tension between individual freedom and societal rules moving the narrative towards a jealous breaking point with "C'est toi! C'est moi!" as it all ends in a desperate confrontation and ultimate tragedy.
From a design perspective, the set as well as the costumes initially feel muted and dull, but as the show progresses and the tensions builds pops of colour is introduced.
Although stellar performances are on offer, the vast Artscape Opera stage does at times feel somehow cluttered, confining the production (and perhaps at certain times, the performers), unnecessarily so: The set perhaps has one too many pieces, not all necessary to serve the narrative, and too many townspeople and/or children filling the “extra” stage space at various intervals: At those intervals it feels as if quality is overshadowed by quantity.
Amongst all this stage “dressing”, one can easily miss acting gems such as that of Lusibalwethu Sesanti as the innkeeper, who always brings a unique charm to any role (no matter how big or small); her performance here reminds of her similarly engaging onstage presence in Cape Town Opera’s acclaimed 2025 the Barber of Seville.
Since its premiere in 1875, CARMEN has remained one of the most frequently performed operas in the world, and for good reason. This current staging of CARMEN definitely, especially vocally, leans into the emotional intensity of Bizet’s vision in a manner that can resonate with contemporary audiences. But be warned, this is not a quick pop into the opera. The production requires planning and commitments as it runs at well over 3 hours; we would encourage indulging in a coffee at least by the second interval.
CARMEN has limited performance until 31 May 2026. Advance booking is highly recommended. Tickets are available online through Webtickets.