London – The English National Opera‘s revival of Carmen, staged at the London Coliseum, offers one of the most recognisable operas in a way that feels urgent, visceral and vividly theatrical. The score’s familiar melodies — the “Habanera”, the “Toreador Song” — serve as both comfort and warning in this production that places seduction, obsession and power at its heart.
A Production of Grit and Glamour
This revival — (the fourth revival of the production) — is directed by Jamie Manton together with intimacy and fight director Haruka Kuroda. The staging remains faithful to its provocative roots, with bold direction and a staging that doesn’t shy away from the darker edges of the story. The presentation is in English, which foregrounds the words and the drama.
London Coliseum
Cast Highlights
Carmen: mezzo-soprano Niamh O’Sullivan. She brings to the role a strong stage presence and rich lower range that lend depth to the character’s defiance and seductive power.
Don José: tenor John Findon (formerly a Harewood Artist). His portrayal of José’s downward spiral from soldier to obsessed lover gives the opera its fatal momentum.
Escamillo: baritone Cory McGee (making his UK and role debut). His bull-fighter swagger contrasts sharply with José’s tortured vulnerability.
Micaëla: soprano Ava Dodd. As the innocent foil to Carmen, her voice offers clarity and emotional sincerity.
The Musical Experience
The orchestra (the ENO Orchestra) under the direction of conductor Clelia Cafiero (with shared duties) sparkles in Bizet’s score — from flirtatious rhythms to darker undercurrents. The effect is both spectacle and intimacy; one hears the swaying rhythms of the Habanera and the brassy thrill of the Toreador song while still feeling the internal tension of the characters.
ENO
Themes That Still Burn Bright
At the core of Carmen is a battle for freedom and its price. The titular character stands as a symbol of unbridled spirit; in turn male obsession and the cost of desire loom large. In this production the themes feel up-to-date: the tension between self-possession and social constraint, between allure and danger, comes across boldly. The English-language delivery means the words hit clearly — though some critics note that the translation sometimes hampers lyric fluency.
The Guardian
Accessibility and Reach
A significant strength of the ENO lies in its commitment to accessibility: with tickets starting at modest prices and provisions for younger audiences, Carmen becomes less of an elite experience and more of a public one. The Coliseum’s position and historic character add to the sense that this is opera for many, not just a few.
Final Impressions
If ever one needed reminding of the visceral power of opera, this production of Carmen offers it in full measure. The combination of Bizet’s incandescent music, ENO’s flair for accessibility, and a staging that doesn’t pull its punches results in a performance that feels both familiar and freshly charged. Whether one is drawn in by the hummable tunes or the deeper moral tension, there is much here to absorb, reflect upon and feel.
In short. if you make your way to the Coliseum for this Carmen, expect drama, heat and an opera that refuses to let you sit quietly. It may not soften you, but it may haunt you.
To book your ticket visit; https://londoncoliseum.org/