Spoiler alert: she gets killed. This is a Carmen which begins at the end, so to speak, with Don José (not the opera’s titular character, but really its central one) being questioned by police over the murder of his former lover, Carmen. One of the first things we see in the backdrop (a live projection of the investigator’s desk) is a photograph of a murdered woman. She’s been brutally stabbed and left to die, reminding the audience straight away that the tragic victim of this tale is not the broken-hearted lover but this woman he so violently killed.   

The police investigator, serving the role of narrator, is expertly portrayed here by Scottish actor Carmen Pieraccini, whose clear disdain for José is expertly balanced by her professional candour.  The addition of a narrator might seem new, but that role is central to the original 1845 novella Carmen by Prosper Mérimée. And it’s an important tool in telling the story on stage. Carmen is far too often seen as a wicked temptress; a wily whore with a smart mouth who got what was coming to her.

This production reminds us that the story we watch unfold is told through the lens of José, a mixed up and angry man whose account of events may be unreliable to say the least. It also gives the production quite a unique vibe. Set in Franco’s Spain, the sepia hues and vintage posters of designer Sarah Beaton’s set sometimes make you feel like you’re watching a 1970s cop drama. Christina Cunningham’s swirly 70s-style outfits are particularly effective on the chorus as they swarm around the bullring ahead of toreador Escamillo’s final-act big fight. 

Lithuanian mezzo Justina Gringytė returns to Scottish Opera as Carmen. Though hers is a gorgeous voice, dark and richly hued, it’s a bit heavy for this particular role. Her English diction is less than clear, though her acting is more convincing. Tenor Alok Kumar, in his Scottish Opera debut, gives a stronger performance as Don José, skilfully portraying the passions and motives of the character as soldier, son, lover and murderer, while Phillip Rhodes is a powerful and commanding Escamillo. Hye-Youn Lee really shines in the role of Micäela, singing with a true tenderness, and Scottish Opera’s quartet of emerging artists (Colin Murray, Osian Wyn Bowen, Zoe Drummond and Lea Shaw) show an outstanding depth of new talent. 

Despite great individual performances on opening night, as a whole, the cast seemed to lack chemistry, though that’s something which will likely grow as its run progresses. The chorus was on sparkling form as usual, and the orchestra, under conductor Dane Lam, fizzed with fiery passion.

Scottish Opera: Carmen, Festival Theatre, Edinburgh, Friday 9, Sunday 11, Tuesday 13, Thursday 15, Saturday 17 June; reviewed at Theatre Royal, Glasgow.