Bizet in South Africa: U-Carmen

Quick– when I say "Opera," what comes to your mind? The Met at Lincoln Center? La Scala? Maria Callas? Luciano Pavarotti? Big, gorgeous stages filled with big, gorgeous sets and big, gorgeous voices? Yeah, that's what I think of opera, too. And yet, when you come right down to it, the true test of any art form is how well it works when it is reduced to its barest elements. With opera, all that truly matters is to have strong singers ably performing a well-written libretto and beautiful music that tells a good story. Stripped of its extravagance, a good opera will still remain compelling, and both artistically and emotionally involving. That, perhaps, is the greatest pleasure of watching the new production of Bizet's classic Carmen, here called U-Carmen, adapted by the group South African Dimpho Di Kopane under the direction of Mark Dornford-May and making its American premiere. This new adaptation, reset in modern South Africa and performed in Xhosa (and, at some performances, in English), is minimalist in every respect save the music, letting us appreciate Bizet's wonderful score in a new, intense way.

As far from Grand Opera as it is possible to get, this innovative vision of the classic is raw and passionate, earthy and fierce. Mark Dornford-May's gritty direction lets us see the weariness, the drabness, the lifelessness of these cigarette girls and soldiers from the beginning: as the audience enters, the actors, dressed in pale pinks and drab beige, mill around the stage, talking quietly, setting the weary scene with their mere presence. It is only when Pauline Malefane enters up through the smoky stage as a black-and-scarlet-clad Carmen that color and excitement enter their world. With her charisma and sass, it is easy to see why Carmen is the center of attention in this demimonde.

Pauline Malefane is an absolute revelation in the title role, finding layers to the character that go beyond mere sensuality. As portrayed by Malefane, Carmen is strong and weak, clever and foolish, naVve and experienced– all of the complexities that make up a real person. With her soaring, powerful voice and smouldering stage presence, there is no question as to why men would be driven to murder over Malefane's Carmen. Andile Tshoni is a good, if somewhat young, don José, especially strong in the more emotional moments of the opera. Zorro Sidloyi is a rather disappointing Escamillo, lacking the saucy charisma that attracts Carmen away from the man she claims to love. Mr. Sidloyi also seemed to be having vocal problems at the preview I attended, needing a backup for the famous Toreador song. Lungelwa Blou is a very sweet if unremarkable Micaela, aptly playing up the character's innocence, and contrasting it well to Carmen's experience. The ensemble works wonderfully as singers, actors, and dancers, creating each scene with their mere presence on the scaffolding and boxes that serve well as a single, uniform set.

Music Director Charles Hazlewood aptly leads the ensemble and a rich, full orchestra that fills Synod Hall with wonderful sound. Jessica Dornford May's excellent costumes speak volumes about the various characters' castes, careers and personalities, from the beige of the soldier's uniforms, the pale pink dresses of the cigarette girls, to Micaela's virginal blue and Carmen's vivid black and red.

The only downsides of this production would have to lie in the language barriers. The very nature of the music makes it difficult to understand the lyrics, and to that end, most opera companies provide libretti or supertitles to help the audience follow the plot. Providing neither, this production is at times somewhat difficult to follow, however simple the story may be. The decision to present all of the spoken dialogue in Xhosa during the English-sung performances does not further set the South African scene, nor help our understanding of the story. If only for the English-speaking audience, it would be helpful if the production would stick to one language per performance. In any case, it is advisable to read a synopsis before attending.

Dimpho Di Kopane deserves much praise for bringing this unconventional take on a classic work to New York. While we will always have NYCO and The Met to keep tradition alive, some of the most innovative, intelligent, and thrilling opera can be found uptown.

U-Carmen will be performed in English again on November 25th, and in Xhosa on November 14th and 20th at Synod Hall on 110th St. and Amsterdam Ave. Information on other shows in the Season South Africa:

SCHEDULE & TICKETS; Evenings at 8 p.m.; Sundays at 3 p.m.

Yiimimangaliso The Mysteries: Oct. 27-28 (previews),Oct.29 (opening) Nov.2, 17, 18, 21, 23, 27 at 8 p.m.; Nov.21 & 28 at 3 p.m.

Ibali loo Tsotsi The Beggar's Opera: Oct. 30 (preview), Nov.6 (opening) Nov.16, 24 at 8 p.m.

U-Carmen: Nov.3 (preview), Nov.5 (opening), 25 at 8 p.m.; Nov. 14 at 3 p.m.

IKumkanikazi yeKhephu The Snow Queen:Nov. 9-11 (preview), Nov.12 (opening) Nov. 19, 26 at 8 p.m.

All four productions by the Dimpho Di Kopane Theater Company will take place at Synod Hall at The Cathedral of St. John the Divine, 1047 Amsterdam Avenue at 112th Street, New York. Tickets are $50 ($30 for previews). Student tickets and senior discounts are $25 and $25,  subject to availability. For tickets please call CityTix at (212) 581-1212 or toll free at (877) 581-1212 from 11 a.m. to 8 p.m. seven days a week. Tickets are also available online at www.nycitycenter.org or in person at the Synod Hall Box Office. For more information, call (212) 932-7314 or visit www.seasonsouthafrica.org.