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| Seattle Opera interviewed our two Carmens: Zanda Švēde, left, and Ginger Costa-Jackson, right (photo by Suzanne Vinnik). |
― Georges Bizet Carmen, Bizet’s heroine, attracts a variety of labels. Some view her as a powerful sexual being or even as a feminist. Others see her as a Roma stereotype, or as a woman who must be punished for daring to do what she wants in a patriarchal society. Seattle Opera sat down with our two Carmens: Ginger Costa-Jackson and Zanda Švēde. We learned more about what it's like to sing this role, and what to make of the work's famous and brutal ending in 2019. Neither of the two mezzo-sopranos would probably encounter Carmen in real life. (Carmen would likely be more into dancing the night away, singing karaoke, and being the life of the party, whereas the two singers are more quiet, homebody-types). But both Costa-Jackson and Švēde described a deep admiration for how Carmen inhabits her own body, how she is brave and un-apologetically herself, and how her ferocity resonates with audiences long after the curtain has come down.
Tell me about your character Carmen.
Why does Carmen have to die in this story? (Or does she?).
What’s the most challenging thing about performing the title role in Carmen?
Do you think, in the 21st century, particularly in light of the #MeToo movement (and increasing representation of women’s power and sexual agency in popular media), that we will see other new takes on this opera—particularly, Carmen's murder?
“I don’t see that happening. People know and love these operas, and they have strong feelings about what’s supposed to happen. They support these traditional endings. It’s hard for me to imagine a Carmen where everything changes in the end. But I guess, as an occasional experiment (such as the recent Carmen production in Florence where Carmen killed Don José) it’s probably pretty interesting to see what the reaction is. I think there’s something to be said for making operas resonate within a given community. In terms of future interpretations, I don't think this story necessarily needs to be about a man and a woman. It’s a story about two people, regardless of their gender: One person wants to be free. The other wants to dominate.”
- Zanda Švēde
Any other Carmen thoughts?
"Carmen is a fantastic introduction to opera. It is consistently the most performed or one of the most-performed operas every year worldwide. Whether this is your hundredth opera or your first, you can't go wrong. Hopefully you will leave the performance moved, tapping your feet, and humming "Toreador" for several days.
“I see Carmen as a woman who stands for freedom. This is what she sings about. She doesn't want anyone to tell her what to do, in life, and in her relationships. I think that’s where Paul Curran’s vision enters this conversation. As a director, he’s interested in having a discussion about how women are restricted and at times oppressed by society.”
- Zanda Švēde
"Bizet based Carmen on the popular novella written in 1845 by Prosper Mérimée. At the time it would have been our equivalent of a best-seller. Translating the Mérimée text we read 'When that girl begins to laugh, sir, it was hopeless for anybody to try and talk sense. Everybody laughed with her.' Carmen for me is an inspiring anti-hero. She embodies joie de vivre, the personification of optimism despite difficult circumstances. A person who rises above societal norms and excels only to be pulled back down in the world of violent men who surround her and attempt to end her freedom. I love how Carmen fights for that freedom with honesty and courage until the end."
"Bizet based Carmen on the popular novella written in 1845 by Prosper Mérimée. At the time it would have been our equivalent of a best-seller. Translating the Mérimée text we read 'When that girl begins to laugh, sir, it was hopeless for anybody to try and talk sense. Everybody laughed with her.' Carmen for me is an inspiring anti-hero. She embodies joie de vivre, the personification of optimism despite difficult circumstances. A person who rises above societal norms and excels only to be pulled back down in the world of violent men who surround her and attempt to end her freedom. I love how Carmen fights for that freedom with honesty and courage until the end."
- Ginger Costa-Jackson
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| Zanda Švēde stars in Lyric Opera of Kansas's Carmen. Photos by Julie Denesha. |
Why does Carmen have to die in this story? (Or does she?).
"Carmen is larger-than-life. But the society she lives in is small-minded. I think she wants an out, because the truth is, she’s not happy. I don’t think she wishes to harm herself. But at the same time, when the opportunity presents itself to leave this oppressive place, I think it’s an exciting and thrilling idea for this woman who has endured so much.”
- Zanda Švēde
“She didn't have to die, and she shouldn't have had to die—that is the timeless message and tragedy of Carmen. Don José ended a beautiful, wild, and reckless life because he couldn't take no for an answer. I believe Carmen's enduring strength is that she never lies to escape fate. It doesn't mean she doesn't fear, in my view she was terrified, but she was true to her convictions in the face of danger."
- Ginger Costa-Jackson
- Zanda Švēde
“She didn't have to die, and she shouldn't have had to die—that is the timeless message and tragedy of Carmen. Don José ended a beautiful, wild, and reckless life because he couldn't take no for an answer. I believe Carmen's enduring strength is that she never lies to escape fate. It doesn't mean she doesn't fear, in my view she was terrified, but she was true to her convictions in the face of danger."
- Ginger Costa-Jackson
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| Ginger Costa-Jackson as Carmen with San Diego Opera, 2019. Photo by J. Kat Woronowicz |
What’s the most challenging thing about performing the title role in Carmen?
“It’s a long opera. It takes a lot of endurance. But at the same time, it’s such a delicious role. I forget about how hard I'm working and how difficult it is.”
- Zanda Švēde
What’s the most fun or enjoyable thing about performing Carmen?
"Bizet really bestowed a treasure for the ages with this masterpiece. The energy is the most enjoyable aspect of Carmen. Bullfighters, soldiers, villagers, and the rich diversity of the scenes sets the stage. Dancing, singing, playing castanets, and living the gypsy life for a night is why performing Carmen is so fun.”What’s the most fun or enjoyable thing about performing Carmen?
- Ginger Costa-Jackson
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| Zanda Švēde stars in Lyric Opera of Kansas's Carmen. Photos by Julie Denesha. |
Do you think, in the 21st century, particularly in light of the #MeToo movement (and increasing representation of women’s power and sexual agency in popular media), that we will see other new takes on this opera—particularly, Carmen's murder?
“I don’t see that happening. People know and love these operas, and they have strong feelings about what’s supposed to happen. They support these traditional endings. It’s hard for me to imagine a Carmen where everything changes in the end. But I guess, as an occasional experiment (such as the recent Carmen production in Florence where Carmen killed Don José) it’s probably pretty interesting to see what the reaction is. I think there’s something to be said for making operas resonate within a given community. In terms of future interpretations, I don't think this story necessarily needs to be about a man and a woman. It’s a story about two people, regardless of their gender: One person wants to be free. The other wants to dominate.”
- Zanda Švēde
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| Ginger Costa-Jackson as Carmen with San Diego Opera, 2019. Photo by J. Kat Woronowicz |
- Ginger Costa-Jackson
"The music is so catchy and so full of life. You experience many grand, dramatic moments. It's such a pleasure to sing this work and to bring it to life."
- Zanda Švēde
Carmen plays May 4-19, 2019 at McCaw Hall.
Tickets & info: seattleopera.org/carmen
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