Buxton’s annual Carnival Day, typically a celebration of sun-soaked reunions and perhaps a touch too much revelry, was marred this year by unexpected rain. Undeterred, my daughter and I sought refuge in the grandeur of Buxton Opera House, where Peter Brook’s adaptation of “La Tragédie de Carmen” awaited us.
This streamlined production featured just four singers and a minimalist set—blocks forming a versatile pyramid that doubled as a prison and a bar. The absence of a chorus raised eyebrows, but fear not: the essence of Bizet’s masterpiece remained intact. The haunting melodies, the torrid love affairs, and yes, the murders—all were there.
The warnings of sex and violence proved slightly exaggerated. The bedroom frisson was palpable, but the murders occasionally felt gratuitous. Moments of silence allowed for seat adjustments and discreet sips of water. Subtitles, thankfully legible through my new glasses, guided us through the drama.
Exiting into the late evening light, the rain had ceased, revealing a tantalizing hint of blue sky. My verdict? A solid 7 out of 10. My daughter, ever the critic, settled on a less generous 6—her opera aversion showing. But for those seeking a memorable, thought-provoking, and challenging experience, “La Tragédie de Carmen” delivers.
Catch the final performance at the Buxton International Festival on July 16th. You won’t be disappointed.
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