For Maoré Hanat, it was her second time ever going to a fully-stage opera performance. She said her first opera was in Paris at an opulent opera house surrounded by pretentiously bejeweled ladies and stuffy gentlemen in tuxedos.
“I don’t remember the name of my first opera, but I liked this one the most,” said Hanat. “I liked everything about this show, especially the idea that it was accessible to all the people. »
Hanat was among a full-house audience at the Mohammed V National Theater in Rabat to see a performance of Carmen, an opera in four acts by French composer Georges Bizet. Carmen is ranked among the most popular and frequently performed operas because of its vivid characters, timeless storyline and thrilling music.
For many it may have been their first opera experience where music and verse tell the story and tragedy evokes an emotional response.
For me, this is my first opera review in many years since attending a performance of Porgy and Bess (another popular folk opera) for the Miami Times. And I love this particular opera, Carmen, after performing it as a chorus member at the Dicapo Opera House in Manhattan.
The first thing that should be mentioned about the evening is the Philharmonic Orchestra of Morocco. The overture for Carmen is no walk in the park for any orchestra. There are runs which are presto (very fast) and layered by instruments. They handled it flawlessly. These professional musicians, under the direction of Maestro Olivier Holt are phenomenal and a source of national pride. I am not alone in this opinion. During the curtain calls, the entire audience gave the orchestra the most enthusiastic cheers.
Carmen is the story of a headstrong, sexy, libertine woman (Carmen) who loves and leaves men. Her sensuality captivates Don Jose, a military officer, who deserts his duties to follow her into the mountains. They share love until the confident bullfighter (Escamillo) comes to claim back Carmen. Carmen drops Don Jose like a bad habit leading to jealousy and a crime of passion.
Like Hansel and Gretel by Humperdink and La Boheme by Puccini, Carmen features a children’s choir. It was such a pleasure to see about 20 local youngsters from the Children’s Choir of Mazaya and the EIMD perform on stage. They will never forget those moments looking out at an adoring audience. Moroccan youth need more exposure to the self-expression that opera and theater have to offer.
The Philharmonic Chorus of Morocco provided the voices of nearly 35 singers who were also instrumental in telling this opera story. They support the scenes with songs and reactions to the tempestuous flirtations of Carmen, the bravado of Escamillo and jealousy of Don Jose.
The show must go on…
Yassine Benameur grew up in Rabat. He was once a Rabati kid with a yearning for artistic expression and by chance, he found his calling at the local music conservatory. Now after years of singing as a baritone and staging operas around the world, he returns to his roots.
“I am the first director of Moroccan origin to stage an opera in Morocco,” said Benameur proudly.
“I got a call from my friend, Dina Bensaid who is the directrice of the orchestra company,” said Benameur. “She said: let’s do an opera. And voila…”
Benameur staged the show in a joint effort with Olivier Desbordes. Their continued collaboration with Bensaid should hopefully bring more opera to Morocco for all the people to enjoy.
“We are planning to do an opera every year,” said Benameur.
There is an old expression in the world of theater: the show must go on… But what does a director do when one of his leads cannot travel or becomes ill.
“We had another tenor for the role of Don Jose who could not get his visa to come to Morocco from Italy,” said Benameur.
So Jean-François Marras of the Paris National Opera literally stepped into the role of Don Jose a week before the opening. And what a tenore voice. I heard Marras warming up as I entered the theater and said to my friends, we are in for a treat. On stage, Marras did not disappoint. His presence was stoic and calm even under the spell of the temptress Carmen.
Anas Seguin played the role of the Torreador who fights bulls and Don Jose for the love of Carmen. This Baritone role features one of the opera’s best know march, Torreador Song, and requires bravado, physicality and dominance which Seguin possesses without moving a muscle.
Carmen, played by mezzo soprano Gosha Kowalinska, is a treasured role. Unlike most, Kowalinska did not have to dress seductively to charm Don Jose into submission. Her stature and voice alone made her desirable and alluring. Born in Poland, Kowalinska is a globally-recognized opera professional whose presence on stage Morocco is a credit to the casting director.
The other cast members were also award-winning professionals of note and worldwide acclaim.
Macaela was played by Anais Constans who will perform this same role at the Opera National de Capitole in Toulouse, France in 2026. She is also contracted to perform with the National Opera de Paris.
Soprano Morgane Bertrand played Frasquita and carried all the high notes so lusciously above the chorus. Aurore Ugolin, who studied voice in the US and France, skillfully and beautifully fit the role of Mercedes. Remy Mathieu and Laurent Deleui were cast as Remendado and Le Dancaïre respectively and brought a touch of comic relief and theatrics to the show.
Zuniga was played by Aslam Safla; and Nourdine Benasser, in the role of Morales, got his first credit on Operabase.
Three’s a crowd
Love triangles and operas seem to always have a tragic ending. Carmen is no exception. Someone has to die.
In the last act, Carmen announces her true feelings about life, love, and death in what could be best described as a narcissistic rant : « Pour l’amour je suis née, et pour l’amour je mourrai! » (« For love I was born, and for love I will die! »)
You can’t tell anyone who to love. And this sentiment cost Carmen her life. In most performances I have seen, Carmen is killed by Don Jose in a fit of jealousy and then arrested by police..
“That is not written,” said Benameur, “It’s an interpretation.”
I actually like the director’s discretion to allow the headstrong and controlling Carmen to choose her fate in death.
Either way, the ending of this performance was made intense simply by the passionate voices of Kowalinska and Marras. I was literally at the edge of my seat like most humans with a heartbeat. It’s the natural response to a touching and tragic ending.
This venture was quite successful. All three performances, Friday, Saturday and Sunday Matinee, were sold-out which is a credit to the marketing efforts and audience development of the OPM. I saw posters in local banks, supermarkets and businesses. Such a great outreach to the community.
Anyone interested in having an opera or an orchestral music experience should follow the Philharmonic Orchestra of Morocco. The Mohammed V National Theater has great acoustics, perfect design and ambiance but it is missing an opera pit which allows the entire audience to see the stage performance.
I wonder if the new theater, the Grand Theater of Rabat, will accommodate the ultimate opera and stage performance setting while building a larger audience of music lovers. Time will tell…
K. Barrett Bilali is the founder of AngloMedia Group which provides communications and public relations in English. He is a writer, journalist and resides in Rabat.
