In Georges Bizet’s “Carmen,” love is inseparable from freedom, and passion becomes dangerous when it turns to possession. LA Opera opened its 2026–27 season at the Dorothy Chandler Pavilion with a visually sumptuous production of this enduring masterpiece, conducted by newly appointed Music Director Domingo Hindoyan. More than 150 years after its Paris premiere, “Carmen” remains as provocative as ever, its unforgettable music illuminating the tragic consequences of a love that refuses to let go.

Director and scenic designer Thaddeus Strassberger creates a sumptuous Spanish Gothic world in which religious symbolism, earthly desire, and the ominous presence of fate intertwine. An enormous hand descending from above seems to reach toward the figures below, foreshadowing the tragedy to come. Atmospheric lighting, elaborate projections, and Mattie Ullrich’s richly detailed costumes create a succession of arresting images, balancing earthly passion with spiritual devotion.

At the center is mezzo-soprano Rihab Chaieb, a magnetic Carmen whose expressive voice is matched by a wonderfully instinctive theatrical presence. Confident, seductive, and fiercely independent, she portrays a woman who understands her power but refuses to surrender her freedom. Her rendition of the celebrated “Habanera, L’amour est un oiseau rebelle” (Love Is a Rebellious Bird), becomes more than an irresistible melody. In Chaieb’s hands, it is a declaration that love can neither be commanded nor possessed.

“For all its visual splendor and musical brilliance, this Carmen ultimately belongs to Chaieb.”

Soprano Kathleen O’Mara offers a beautiful contrast as Micaëla, bringing a luminous voice and gentle dignity to a character associated with innocence and devotion. In one of the production’s most memorable visual moments, she appears dressed like a saint while her projected image grows to monumental proportions behind her. The effect is almost devotional, reinforcing the Catholic imagery woven throughout Strassberger’s staging. As Don José, tenor Joshua Guerrero traces the soldier’s descent from infatuation into destructive obsession, while bass-baritone Liam James Karai brings a commanding presence to the charismatic bullfighter Escamillo.

Antonio Najarro’s choreography adds another dimension to the production’s theatrical richness. Flamenco dancers, with their rhythmic footwork and sweeping gestures, animate the stage with sensuality and tension, while the torero-inspired sequences evoke the pageantry and danger of the bullring. Here, dance becomes part of the drama itself, expressing rivalry, seduction, and the ever-present threat of violence.

In the orchestra pit, Domingo Hindoyan brings vitality and dramatic sensitivity to Bizet’s magnificent score. From the exhilarating overture to the darker musical passages that anticipate Carmen’s fate, his conducting captures both the opera’s exuberance and its underlying tragedy. His inaugural performance as Music Director marks a significant moment for LA Opera as the company celebrates its 40th anniversary season. At the curtain call, ribbons descending from above offered a festive welcome to the company’s new Music Director.

For all its visual splendor and musical brilliance, this Carmen ultimately belongs to Chaieb. Her portrayal reminds us that the opera’s tragedy is not simply one of jealousy or unrequited love, but of a woman determined to remain true to herself, whatever the cost. Love may be irresistible and fate inescapable, but for Carmen, freedom is non-negotiable.

–Rosane Grimberg

CARMEN | LA OPERA
Dorothy Chandler Pavilion, 135 N. Grand Avenue, Los Angeles, CA 90012
October 17 – November 7, 2026
Running time: Approximately 3 hours and 30 minutes, including one intermission.
Sung in French with English subtitles.
Tickets and information: www.laopera.org