Carmen

Oxford Operatic Society, at the Playhouse Monday 22 November

It's a tricky business putting on an opera. I don't think the Oxford Operatic Society would dispute that; indeed their programme notes to their current production of Bizet's Carmen are frank enough to state that Carmen is one of their most challenging projects to date. Just think, 'opera' requires not only strong vocalising-both solo and ensemble-or convincing acting, or authentic dance, but all three at once, synchronised perfectly with orchestra, the latter (as it was last night) usually situated in a pit, a considerable distance from the singers on stage. Then there are costumes to cope with: soft hats and dangling swords and heavy capes that restrict arm movement, and props, and backdrops and lights. Opera is arguably the most multi-disciplinary-hence exacting-art form. The Oxford Operatic Society coped reasonably well with these varied demands. The group certainly has some fine singers within its ranks and in my mind this is what carried the evening. Rebecca Mitchell-Farmer, playing Carmen, sang beautifully. Her facial expressions pushed through the emotion of the moment with an exotic flair nicely accomplished. The Act III Card Trio, where Carmen is joined by Mercédès and Frasquiata (confidently sung by Jane Hainsworth and Claire McDonnell-Smith respectively) was a sublime moment for audience and singers alike. So too was the second act sextet where well-matched voices revealed the innate musicality of the six, all strong leads for the production. A little less satisfying, however, was the general feel of the production. The extreme "Englishness" of the cast-their pronounced English accents, even some of the set moves-tipped the opera into Gilbert and Sullivan Penzance land, the Society's past performance history revealing this as well trodden and highly successful territory. What was surprising, given the individual talent and experience of its players and conductor, was the quality of orchestral accompaniment. Poor tuning marred upper string and woodwind sections. Director and singers disagreed at times on tempi. I would have welcomed a little more commitment from the orchestra in the action. In all, despite minor shortcomings, this was a competent performance put on by a talented group of people who, one must remember, swop capes and swords and red skirts for business attire each morning. For an amateur society Carmen is ambitious work. The Oxford Operatic Society once again acquitted itself well.

SCMS