Last weekend saw our now annual tour to Melrose Corn Exchange to share our Edinburgh Fringe Production with a wider audience. We were thrilled by the reception of our Carmen production, and humbled by the comments of our audience. Here are some of the reviews we received:
“I have seen Carmen a number of times – Edinburgh Playhouse, Covent Garden, etc but what you guys did today surpassed them all. Without exaggeration. The Production was fantastic, and for a community opera group, the talent on display was incredible. I am still buzzing. It was a privilege to be there.”
Cigarieres – The Cigarette girls take a wee break while the soldiers watch on
“Jolanda is without a doubt the best Carmen I have seen and heard and so much credit to everyone in every role, on the floor, making music, or in the background.”
Alistair Wales as Morales
“Carmen, played by Eilidh Riddell, brought the passion, femininity and drama of her role alive in what can only be described as superb.”
Eilidh Riddell as Carmen
“Everyone was on fine singing form, but in particular socks were knocked off and goosebumps raised by Eilidh Riddell (Carmen), Amber Lipman (Micaela), Jake Zualski (Escamillo) and Aaron Fait (Don Jose), with lively accompaniment from pianist Max McWhirter.”
Amber Lipman as Micaela
“The addition of Moira Lewitt, a flamenco dancer who represents the ‘spirit of Carmen’ and broodingly ties the whole conflict together, was a fantastic stroke of innovation which I loved!”
Fiona Watson as Micaela
“The whole cast/chorus produced a rendition of Bizet’s Opera of which the composer himself would have been impressed. Truly a fabulous experience”
It’s only a week to go until we bring Carmen to Edinburgh fringe, and as our followers will no doubt have noticed, this one’s a little bit different. Not least because we are joined by the fabulous Moira Lewitt as our Flamenco Consultant who will also dance through the piece representing the spirit of Carmen. Read on for Moira’s thoughts on her role with us:
Moira Lewitt as Carmen’s Duende
‘A mysterious force that everyone feels but no philosopher has explained… The duende is not in the throat: the duende surges up, inside, from the soles of the feet.’1
I am thrilled to have been invited to embody the spirit of Carmen in Aria Alba’s production of Bizet’s Carmen. It has been a unique opportunity to infuse flamenco movement, and hopefully duende, into the performance. Like opera, flamenco communicates deep emotional states. The two artistic forms sit perfectly together, but it is important that the authenticity of each is respected, that neither is diminished. This is not the flamenco of the cafés cantantes of Bizet’s time, shaped for wealthy audiences, but a style influenced by modern flamenco theatre, more intimate and open to a dialogue with opera, with its music, lyrics and characters.
I have endeavoured to introduce flamenco percussion as well as movement to Bizet’s original score. Although Bizet’s music is notably lacking in flamenco elements, it is possible to use flamenco movements, and to overlay flamenco rhythms with footwork and palmas (clapping). Thereby, I have tried to bring flamenco authenticity. Bizet incorporated castanets, which we have included in the ‘Habanera’ in Act I, faithfully to the score. Tambourine, associated with gypsy music but not traditionally used in flamenco, is also called for, and I have used it to beat a more flamenco rhythm in the ‘Chanson Boheme’ at the start of Act II.
Matador at a bull fight
When Carmen was first performed in Paris in 1874, the audience was shocked – the upper classes in France, and in Spain, considered the on-stage depiction of gypsies, thieves and the leading female character vulgar and reminiscent of cafés cantantes where women performed and men watched. The cafés cantantes were part of the social upheaval of the time, a reflection of the struggles between classes and between genders. Unlike in Paris, performers in the cafés cantantes of Seville remained closely connected to traditional practice in the community: flamenco was, and continues to be, embedded in Andalusian life, sitting alongside other aspects of culture. Federico García Lorca, for example, explored both the bullfight and flamenco in essays and poems. The posture and practice of the matador’s pose is an inspiration in flamenco performance. Helped by the writings of García Lorca, flamenco cante jondo (deep song) was recognised outside of Andalucía: flamenco thrived and rose above the cafés cantantes.
Carmen may have been a symbol of cultural resistance when Bizet presented her to the world. What about today? I think she remains a symbol of femininity that is not submissive: a complex ‘free spirit’ to which modern performers and audiences can relate. Our Carmen has a flamenco spirit that, hopefully, I have portrayed in a way that is relatable, and that might facilitate the duende in Aria Alba’s production. What is duende? It is hard to define, it is more than a spirit, it is a force that transforms a work, it needs to be felt – I refer you to the essay by García Lorca’s in the footnote1. Aria Alba presents three Carmens, each feels the character differently, and so each time the performance is unique – I am enjoying communicating their multifaceted story and range of emotions.
The experience of working with Aria Alba has been amazing – it is a supportive environment in which to learn, and there is mutual respect and kindness. Becoming the spirit Carmen is a rewarding journey for which I am grateful.
Last week was our annual residential week at Ardentinny Outdoor Centre. It was a fantastic intensive course to get Carmen brushed off for Edinburgh Fringe and there were so many positive experiences for our community. Please read on to see how Aria Alba member, Amber got on during her first time away with us:
Aria Alba at Ardentinny Centre 2024
Singing. Hiking. Green hills, fresh air, clear waters. Friends. What more could one ask for?
I’m one of the newbies here at Aria Alba. I am not new to acting, singing, or hiking but the Aria Alba rehearsal retreat is not like any opportunity I’ve had before in the performing arts.
A week of music in the green countryside under the direction and guidance of the most wonderful music team was a week of both growth and discovery; discovery of one’s own voice and, of course, a discovery of Scotland’s hidden gems.
The Aria Alba retreat to Ardentinny is a time for focussed, in-depth exploration. Each day began with a group warm-up and a practical study of vocal anatomy and technique led by director Jake, covering topics such as breathing, vocal fold closure, the varying changes of tension with pitch, and of course, playing at sheep and shepherds (Aria Alba readers will know what this means). Speaking as a largely self-taught singer, I’ve found these exercises invaluable in understanding my voice in greater detail and could already feel/hear a difference in my performance as the week progressed. Experiencing such positive change has truly generated a buzz of excitement in myself; I am keener than ever to continue learning and practising this newfound understanding of my own voice.
The remainder of the day can best be described as a mosaic of Carmen with each room of the Ardentinny centre bringing a different scene to life. Some of this time called for the entire cast in one room but was often a rotation of some cast called for specific scenes or truly transformative 1-1 sessions with our wonderful director Jake. In the meantime, other cast members worked alongside our delightful conductor Suzanne and accompanist Max, supported each other, or worked independently on their own parts. As the week progressed the imaginative world of Carmen became ever more vivid; we attended bullfights, climbed mountains, danced in taverns, and admired the talent of our featured guest performers Charlie Morris as Escamillo and Moira Lewitt as the spirit of Carmen.
While the week was certainly full-on with learning and developing the opera, there was still plenty of opportunity to escape into the surrounding greenery. I for one seized every possible chance: a short hike into the woods after breakfast followed by the occasional foray out to the beach during the afternoon and a late-evening hike further afield (word of warning for future attendees: learn from my mistakes and bring the midge spray).
Amber singing Michaela in the end of week performance
Ultimately, as an Ardentinny first-timer, I can say that it is a worthwhile experience for any singer seeking to develop their voice and learn from the best. Live theatre is, after all, about community and connection. Singing is a full-body experience that can only be helped with a bit of fresh air. And in the case of an opera like Carmen, this experience is elevated even further with a score that is exciting, powerful, and fantastic fun. We are immensely lucky to experience it all under Jake Zualski’s innovative and powerful direction and wonderfully insightful guidance.
This past week was an exceptional learning opportunity that culminated with a full run of the opera in front of a delightfully enthusiastic audience. But the fun is only just getting started:
Melrose: 3-4th August
Edinburgh Fringe Festival: 14th-17th August
https://tickets.edfringe.com/whats-on/carmen
Huge thanks to:
The Ardentinny Outdoor Centre team. As a tragically picky eater I could not have been happier or better fed with (no joke) some of the best food I’ve had in a very long time. With Ardentinny’s isolation from the rest of the world and the nearest supermarket being who knows where, this was an incredibly important detail!
Come to our open dress rehearsal at Ardentinny Outdoor Centre, Saturday 6th July at 6.30pm!
Aria Alba returns to Ardentinny with CARMEN. Atmospheric. Dramatic. A musical tour de force. And you’ll know loads of the tunes.
This year it’s feeling a bit different. Dunoon-based flamenco dancer, Moira Lewitt (also PhD, physician, researcher, and now Professor at the University of the West of Scotland by the way) adds a touch of sensuous sizzle! She is careful to tell us that the music in Carmen isn’t actually flamenco, but has a Spanish style. Whatever, it is good!
Everyone knows something of Carmen’s story. She is a fiery, magnetic seductress, who draws solder Don Jose into a turbulent love affair. He is dutiful, she is a free spirit. The opera tells the tale of their descent into a criminal underworld. It doesn’t end well.
Spoiler alert: he kills her and is hauled off to meet his own fate!
You’d think a community opera company would play it safe, but that has never been our style. It’s our first opera in French although there will be English explanations for the audience. It’s been great to have a French conductor and Royal Conservatoire of Scotland (RCS) graduate, Suzanne Godet, volunteering with us for the first time this year. And we have a bunch of new members – it’s so interesting to introduce them to the magic of our residential week in Ardentinny.
The language and the music are stretching but it is a joy to see Jake Zualski’s concept emerging and the confidence of the singers building, supported, as ever by our lovely pianist, Max McWhirter, MMus, also an RCS alumnus.
Moira, Max and Suzanne in rehearsal.
Every year we arrive feeling like we have a mountain to climb, and every year by the Saturday evening we have the makings of our Fringe performances. It’s uncanny the way it works. Just being around each other for six days, 24 hours a day, cements relationships on the stage and off it. And if it has rained a bit this year, well, at least we have those wonderful views around us as we rehearse.
Peter and his team in Ardentinny couldn’t be more welcoming and nothing is too much trouble for them as we scavenge for props. This year we’ve purloined a checkerboard for our dancer’s formidable clacking and stamping, and a climbing rope – yeah, I’ll let you find out what that’s for!
And the flamenco! The moment Moira takes the stage in the overture, the spirit of Carmen is evoked. Her smouldering interpretation is captivating. It’s hard to take your eyes off her as she stamps and turns, her fringed shawl writhing around her, adding even more drama, as if that were possible. Threaded through the opera, she acts as a kind of ghostly presence, amplifying the action and supporting the story!
We’re welcoming those local to Dunoon to experience our open rehearsal for Carmen free of charge (although, optional donations to Aria Alba -Opera for All would be greatly appreciated!). No need to get a ticket, just show up at the Ardentinny Outdoor Centre for 6.30pm on Saturday 6th July! We’re so excited to show off all our hard work!
Our 2024 Edinburgh Fringe Production comes ever closer, and tickets are now on sale for both the Melrose preview performances and the final run at Stockbridge.
Our props and costume department have been working hard to bring together the brutalist vision of director Jake Zualski. One of the biggest tasks has been stitching the many hundreds of meters of seams for a full set of black circle skirts for the female presenting chorus!
Check out the amount of fabric in the video below, and also the smiles on the girls faces when we asked them to twirl!
We’re also so excited to have Kelly Doherty on board to design and create bespoke skirts for our three Carmen performers. And a striking new-romantic inspired tartan extravaganza for Escamillo.
Thanks to the wonders of gift-aid we’re now equipped with a complete set of theatre flats to help transform new venues into a professional theatre and open up more touring and community engagement opportunities for the future.
Lastly, but not leastly, we’re proud to announce that we’ve been working closely with our Flamenco consultant, Moira Lewitt to make sure that we honour the traditions which inspired this iconic opera. Moira has not only been an integral voice behind the scenes, but will also represent the spirit of Carmen throughout the performance. Lending rhythmic footwork, castanet clicking and physical performance elements that make the whole production sparkle.
A few weeks back saw a great milestone for our Artistic Director Jake Zualski, who has now been with us for 10 years!
Although Jake was known to the company from the very beginning for singing with some founder members at a Linlithgow Rugby Club Choir rendition of Les Miserables in 2010, it wasn’t until 2014 when he came to us as a music graduate in the role of conductor.
Soon after that, he became the comusical director of the company beside his mentor and friend, our founder Dr. Nell Drew. Over the years they produced 7 operas for us (another 4 for other companies) and side by side they led us through many challenges.
Jake has been a central figure in the development of our community this past decade, often taking on more than his role asked for. In 2018 he stepped in to direct Idomeneo at Edinburgh Fringe and in 2022 he oversaw a production of Maria Stuarda which Nell directed from her hospital bed.
Since inheriting the role of Artistic Director in 2022, Jake has produced one full scale opera, Cosi fan tutte which enjoyed successful runs at both Melrose Corn Exchange and Edinburgh Fringe. And this year he leads our company through the complexities of Carmen in a brutalist production quite unlike anything we’ve done to date. Catch it in Melrose (August 3-4) or Edinburgh Fringe (August 14-17 2024)
We look forward to many more adventures under the leadership of Jake over the coming years and thank him for the years of service he has given us.
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