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The Royal Opera
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears

Carmen

OPÉRA COMIQUE IN FOUR ACTS

Cast sheet

Friday 11 April 2025

|

7pm

The 608th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust
Generous philanthropic support from Royal Ballet and Opera Friends
Production generously supported by Veuve Clicquot

A co-production with Teatro Real, Madrid and La Scala, Milan

Approximate timings

The performance lasts approximately 3 hours, including one interval
Act I and II
95 minutes
Interval
25 minutes
Act III and IV
60 minutes
Credits

Music

Georges Bizet

Libretto

after Prosper Mérimée’s 1845 novella Carmen

Henri Meilhac, Ludovic Halévy

Spoken text after

Meilhac Halévy and Mérimée

Conductor

Mark Elder

Director

Damiano Michieletto

Revival Director

Dan Dooner

Set designer

Paolo Fantin

Costume designer

Carla Teti

Lighting designer

Alessandro Carletti

Dramaturg

Elisa Zaninotto

Cast

Carmen

Aigul Akhmetshina

Don José

Freddie De Tommaso

Micaëla

Yaritza Véliz

Escamillo

Łukasz Goliński

Zuniga

Jamie Woollard

Frasquita

Marianna Hovanisyan

Mercédès

Jingwen Cai

Dancaïro

Siphe Kwani

Remendado

Ryan Vaughan Davies

Moralès

Ross Ramgobin

Bohemian

Dawid Kimberg

Marchande d'oranges

Louise Armit

Children

Saskia Cheetham, Mille Kenis, Arlo Drage

Actors

Ruth Adams, Peter Cooney, Jamie Francis, Anna Guzak, Daniel Klemens, Audrey Page, Sarah Robinson

Jamie Woollard, Marianna Hovanisyan, Jingwen Cai, Siphe Kwani and Ryan Vaughan Davies are Jette Parker Artists
Chorus and Orchestra

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Concert Master

Magnus Johnston

Extra chorus

Sopranos

Rachel Chapman, Christine Cunnold, Kathryn Jenkin, Hyacinth Nicholls, Natasha Page, Alison Rayner, Elizabeth Roberts, Vanessa Woodfine

Mezzo-sopranos

Jeanette Ager, Jennifer Westwood

Tenors

Phillip Bell, Simon Biazeck, James Geer, John Gyeantey

Basses

Gavin Horsley, James Quilligan

Children's Chorus

Angel Akerele, Georgiana Bamford, Andrei Caprar, Svyatoslav Colotelo, Fabian Crocker Griffiths, Jasmine Essayah, Olivia Ferreira, Felix Flynn, Isla Faulkner, Caren Georgee, Joy Hang Hui, Doga Himmetoglu, Ariana Husain, Anika Jain, Margaret Jin, Euan Langford, Thea Lashbrook, Oskar Lashley Felix Lewis, William Lleshi, Ewan McLatchie, Emilia Ostroumoff, Damian Seth Ramos, Denneyah Reid, Jessica Roulston, Zakariya Safdar, Zurelle Sonson, Daisy Tapper, Dmitrii Voznesenskii, Elsa Zanocco

The children’s chorus is made up of members of the Youth Opera Company
Production credits

Music preparation

Susanna Stranders, Leanne Singh-Levett, Christopher Willis

Assistant Directors

Daisy Evans, Madeleine Allegra Brooks

Language Coach

Florence Daguerre de Hureaux

Movement direction

Denni Sayers

Fight Director

Lockhart Ogilvie

Patron

HM The King

Music Director Designate

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Associate Director

Netia Jones

Administrative Director

Cormac Simms

Men and women are relaxing in the midday sun. The factory women come out into the fresh air for their afternoon bre...

ACT I

Men and women are relaxing in the midday sun. The factory women come out into the fresh air for their afternoon break. Among them is Carmen, an independent young woman who sings a song about love. She throws a flower to Don José, a young policeman who is immediately drawn to her. José is distracted by the arrival of Micaëla, a young woman who brings a message from his distant mother.

Micaëla departs, and a quarrel erupts among the factory women. In the fray, Carmen slashes the face of one of her coworkers and is arrested. Alone with Don José, she seduces him and persuades him to set her free. Don José’s superior, Zuniga, reprimands him for letting the prisoner get away.

ACT II: ABOUT A MONTH LATER IN A NIGHTCLUB

Carmen is waiting for the return of Don José, who has been imprisoned for helping her escape. The nightclub is the secret meeting place of a group of weapons smugglers known to Carmen. They want her and her friends, Mercédès and Frasquita, to help them on a job that evening, but Carmen refuses: José has been released from prison, and she knows that he will come to her that evening.

The famous bullfighter Escamillo pays a visit to the nightclub and describes the excitement of his sport, and being in the arena. Carmen and Escamillo feel an immediate attraction to one another and share a flirtatious exchange.

Carmen gets the smugglers to leave when she hears José approaching. Their romantic reunion is interrupted by the call to return to headquarters. When José begins to leave, Carmen mocks him. He declares his love for her, explaining how he cherished the flower from their first meeting during his time in prison. Zuniga arrives, looking for Carmen. In a jealous rage, José attacks his commander. The smugglers break up the fight and bundle off Zuniga as their hostage. José realises he has no choice but to join Carmen and the smugglers.

INTERVAL
ACT III: TWO WEEKS LATER

The smugglers are operating from their hideout in the mountains. Don José and Carmen are quarrelling. Her love for him is fading, and she advises him to go and live with his mother. Carmen and her friends begin a series of tarot card readings. Frasquita and Mercédès see a future filled with love and money. Carmen’s cards spell death.

Micaëla has followed José to the smugglers’ hideout. She hides when José challenges an intruder, who turns out to be Escamillo, seeking Carmen. The two men fight and are separated by the smugglers. As Escamillo departs, he invites Carmen to his next bullfight. Micaëla emerges from her hiding place with a message to Don José from his mother: the old lady is dying, and she is desperate for him to return home. He agrees to leave, warning Carmen that they will see each other again.


ACT IV: A FEW DAYS LATER

Accompanied by Carmen, Escamillo prepares for his bullfight while a noisy crowd cheers him outside. Carmen’s friends warn her that Don José is lurking nearby. Unafraid, she waits for him and informs him that their affair is over. He begs her to return to him, but she refuses and asserts her freedom. José kills her.

Guidance
Suitable for ages 8+
This production contains themes of a sexual nature and violence. There are gunshots in Act I with blank shots fired. These can be loud.

Language

Sung in French with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium. Some performances also include Captions that give more details about the sound.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.

For people, not profit.

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