Carmen (Opera Australia), at Regent Theatre - 2 hours 50 minutes, including interval

Passion, obsession, desperation, jealousy and rage make for a fiery combination in composer Georges Bizet’s Carmen, newly interpreted by director Anne-Louise Sarks.

The sublime music, with such familiar refrains, also showcases a sassy, not to be messed with soprano in Danielle de Niese.

She is irrepressible and oh so potent as the titular character.

Carmen attracts men as a shining light draws insects. Resistance is impossible.

Never truer words have been written and that includes bad boy Don José (Abraham Bretón), which inevitably leads to her downfall.

Set in Seville, Spain, the story is that of a free-spirited gypsy – Carmen – who works in a cigarette factory and prides herself on her independence.

She seduces soldier Don José, who abandons his childhood sweetheart, Micaëla (Jennifer Black), and his military duties to pursue her.

Mind you, she doesn’t return the favour.

All too quickly, she loses interest in him and falls for an ebullient bullfighter named Escamillo (Phillip Rhodes).

Don José is ropeable at being cast aside, so much so that this can only end badly.

Best known recently for her work as artistic director and CEO of Melbourne Theatre Company, Anne-Louise Sarks has done a mighty job bringing together the fervour, drama and tragedy of Carmen.

Accompanying her is her long-time collaborator, Tony and Olivier Award winning Marg Horwell, who is responsible for the sets and costumes, which are primarily bold and colourful.

The sets in Acts I, II and IV are particularly striking, the lively costuming a standout in Acts II and IV.

That is also where Paul Jackson’s evocative lighting and Shannon Burns’ enticing choreography come the fore.

I couldn’t escape the feeling that there is all but an aura around Danielle de Niese.

It is the look in her face and the way she carries herself throughout. There is a star quality about her turn, with a role that demands her to be flighty and dismissive.

I admire the pent-up energy generated by Mexican/Spanish tenor Abraham Bretón as Don José.

There is a purity of sound and magnificent control shown by soprano Jennifer Black as the jilted Micaëla.

Baritone Phillip Rhodes readily displays arrogance and entitlement as the feted matador.

The full-throated harmonies of the Opera Australia chorus are intoxicating, brought into sharp focus by the stirring sounds of Orchestra Victoria under debut conductor Clelia Cafiero.

Performed in French, with English surtitles, Opera Australia’s Carmen, circa 2025, is a scintillating production, richly deserving of the highest plaudits.

From the perspective of milestones, it is now 150 years since Carmen – one of the world’s most popular operas – premiered at the Opéra Comique in Paris.

It is on at Regent Theatre until 25^th November, 2025.