Is there an audience for 3-D opera films? It's possible that both traditionalists and special-effects buffs might stay home, for different reasons. That's a shame, because Carmen in 3D, a joint production of Real D and the Royal Opera House, is genuinely entertaining, employing the special effect with restraint.
The filmmakers aren't out to provide eye candy, though there's some of that (the rose petals thrown at the toreadors, for instance, appear to swirl out into the audience). Their goal was to lend the depth and rounding of a live performance to a movie, and they've wisely erred on the conservative side in choosing how to employ the 3-D.
This is a solid but traditional production of a familiar piece, and it probably won't bring the cognoscente to their knees. Yes, Carmen is a warhorse, but with good reason, and it's much easier to roll your eyes about the choice of an accessible work if someone else is taking the financial risk.
This Carmen, staged last year in Covent Garden in London, is visually impressive, employing lots of earth tones (except for the scenes in the smugglers' camp) and giving much attention to detail — the crowd scenes for example, are full of lively business. The production was a grand-scale undertaking, as particularly evident in the big set pieces, including the entrance of the cigarette factory girls and the evening at Lillas Pastia's inn.
The large cast is nicely led by Christine Rice as the Gypsy temptress Carmen and Bryan Hymel as her hapless lover/victim, Don Jose, with admirable support from Maija Kovalevska as Don Jose's hometown flame Micaëla and Aris Argiris as the swaggering bullfighter Escamillo. The singing by these four impressed my untrained ears, and Rice is a forceful actress.
The opera was directed by Francesca Zambello, the film by Julian Napier. The production was designed by Tanya McCallin and the orchestra conducted by Constantin Carydis.
The 170-minute run time of Carmen in 3D includes a 20-minute intermission.
[3D opera film]
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