Natalie Aroyan’s Micaela – the innocent soprano to Carmen’s temptress, a hometown friend of Don José’s – is in stunning voice, even when singing her signature aria from the top of a shipping container.Ī sprinkle of misty rain wasn’t the only threat to the success of opening night. Gorrotxategi’s Don José sings with all the hopefulness and gravity of a fallen angel and Lo Monaco’s Carmen is reckless, self-assured and rebellious. It’s packed with captivating performances. Carmen moves differently to everyone else, circling men and sauntering through crowds, with irresistible swagger. Kelley Abbey’s choreography captures the dynamic, dramatic movement of Bizet’s score with flamenco motifs and jazz technique, and it frequently feels both individualised and self-affirming (Frasquita and Mercedes, Carmen’s Romani friends, dance with confidence, daring to take up space and live loudly performers Jane Ede and Margaret Trubiano are an immediately likeable pair). This production is seductive in a way that feels rough-hewn and therefore organic. When Carmen falls for toreador Escamillo (Luke Gabbedy) over Don Jose, this production doesn’t vilify her she keeps her head high, and her independence is clear in her body language. She also wants us to feel that they are equals – and so frames them accordingly, by lights and the ensemble. Within the boundaries of the libretto (the tale of a seductress who turns the head of a soldier, with deadly results) Edwards works to give both Carmen (sung here by Italian mezzo soprano Josè Maria Lo Monaco) and her soldier Don José (Spanish tenor Andeka Gorrotxategi) a dash of reality. Nothing about the design, on any level, is boring – and it’s all cohesive enough to not feel overwhelming. Julie Lynch’s costumes are brighter pops on that established colour scheme, with bold patterns and silhouettes. The shapes and shadows from Rayment’s lights create believable intimacy on the oversize stage, something other operas on the harbour have struggled with. John Rayment’s lighting works closely with Thomson’s design, with a warm palette including a striking yellow and green, to direct audience focus across the giant outdoor stage. Brian Thomson’s set is luxurious with reds, backdropped with Carmen’s name in lights and the silhouette of a bull. Set in the Spanish Civil War era, it’s a triumph of design. Gale Edwards’ Carmen, returning this year after a successful season in 2013, goes a long way towards justifying this level of extreme art. And that’s before you factor in Carmen’s second-act fireworks, or the tanks, shipping containers and performers placed on set by construction cranes. The annual outdoor opera staging at Mrs Macquarie’s Point – with the Sydney Opera House and Harbour Bridge standing watch in the background, the sound of waves lapping underneath the set – is pure Sydney spectacle. The first thing you need to know about Handa Opera on Sydney Harbour is that it’s completely OTT.