Guest Blog: 'It's Such An Iconic Opera': Conductor Olivia Clarke on Taking on ENO's CARMEN

I’m looking forward to conducting Bizet’s Carmen for English National Opera (ENO) this autumn, alongside fellow conductor, Clelia Cafiero. Carmen’s extreme drama and memorable music makes it one of the best-loved operas by audiences worldwide.

Calixto Bieito’s now infamous production was loved by critics when it was first staged by ENO in 2012, so it’s great to see it returning for its fourth revival this autumn. It’s a fiery and visceral take on Georges Bizet’s nineteenth-century original, drawing out the themes of power, sexuality, violence and masculinity which are prevalent throughout Carmen. Relocating the action to 1970s Spain, during the dying days of Franco’s oppressive regime, it maintains a potent relevance to today’s audience.

A searing depiction of a rebellious woman in a man’s world, Carmen shook the genteel world of Paris when it premiered 1875. The score is bursting with some of opera’s most memorable tunes, like Carmen’s seductive "Habanera" and Escamillo’s "Toreador song". It’s always uplifting to feel the audience’s reaction to these musical favourites – like a warm hug going through the theatre.

Alongside these bangers there is a constant stream of exhilarating musical moments in the score, from fast-pasted zingy full chorus numbers to intimate arias with soaring flute solos. The Bizet and Bieito combination takes us through every possible emotion.

It’s a pleasure to share the performances with Clelia Cafiero, who debuted Carmen at the Choregies d’Orange in 2023 with Orchestre National de Lyons. Clelia is conducting the first half of the run before I take over for the final five performances. It’s quite unusual to job-share the role of conductor but it has been a wonderful experience. We have discussed and learned from each other’s musical ideas and it has been a fantastic collaboration. I think we both bring something different to the music through our personalities, but we agree on the fundamentals of respecting what Bizet wrote as we bring it to life.

The Orchestra and the Chorus of the ENO really throw themselves into Bizet’s Spanish-inflected score. The orchestra showcase their fantastic lower instruments like double basses and trombones with strong floor-shaking bass lines, as well as their melodic flutes, clarinets, oboes and violins whose solos float up from the pit throughout the show. You’ll also notice the punchy percussion section showing off their rhythmic pizzazz.

The essence of this orchestra and chorus is a warm feeling of good-ness. They are not only excellent musicians with fantastic technique and colours, but they are good people. As a conductor they feel open, honest and kind to work with, which allows you to feel trusted and respected. This feeling of support and warmth is their superpower – when you feel safe with your colleagues, the sky is the limit!

Niamh O'Sullivan as Carmen and John Findon as Don Jose are an electric combination, and Revival Director Jamie Manton has done a fantastic job bringing Calixto Bieito's original production back to the stage. 

Coming back to ENO feels like coming home, having been their Mackerras Conducting Fellow from 2020-23. The fellowship is a development programme for emerging conductors, named in honour of the renowned conductor Sir Charles Mackerras. During the fellowship I was mentored by ENO’s Music Director, assisted on productions and conducted several performances on the main stage as well as smaller project with the orchestra, which were such valuable experiences to jet-start my career.

Since the fellowship I have conducted operas at Glyndebourne, Welsh National Opera and the Royal Academy of Music, alongside symphony concerts across Europe.

Carmen is the perfect show for first-time opera goers, so if you’ve always fancied trying opera but have never seen one before, come and give it a go!

Carmen opens tonight (8 October) and runs at the London Coliseum until 5 November

Main Photo Credit: Rebecca Need-Menear