The moment Scottish Opera’s Carmen begins, the audience know where it is headed, as we hear Don José’s words from the end of the opera – “Take me away. I killed her” – while the overture plays. It’s hard to argue that this is a spoiler for an almost-150-year-old opera, but it still comes as a shock juxtaposed against the jaunty opening melody that the orchestra plays.

John Fulljames’ production is set in 1970’s Spain, and framed with a police investigation of Carmen’s murder, with actress Carmen Pieraccini’s detective interrogating Don José throughout. This replaces the oft-cut original dialogue and gives a true crime spin on the tragedy we see unfold. Evidence and photographs are projected onto Sarah Beaton’s minimal set, while later, Will Duke’s projections include bird’s-eye views of tarot cards, the death card multiplying to signpost Carmen’s doom.

For us, the new staging works, particularly in conjunction with Christopher Cowell’s new English translation. There’s very little colour on display, with factory workers and soldiers in muted, faded costumes by Christina Cunningham, making Carmen’s Act II blood red flamenco dress stand out even more, and allowing the final chorus scene in Act IV to explode visually as well as musically.

Speaking of the chorus, they’re on wonderful form here, well-drilled by chorus director Susannah Wapshott. There’s lots to enjoy in their singing, of course, but also lots to enjoy in their committed acting, with particular highlights including the Act I fight among the factory workers and that final crowd scene in Act IV, complete with raucous and jubilant dancing and an enthusiastic children’s chorus.

In the smaller roles, it’s wonderful to see all four of Scottish Opera’s 2022/23 Emerging Artists. Zoe Drummond and Lea Shaw sing Frasquita and Mercédès gloriously, with their tarot card duet being a real highlight, and Osian Wyn Bowen and Colin Murray making a suitably sleazy, sinister pair as Remendado and Dancaïre.

Phillip Rhodes is a resplendent Escamillo in traditional bullfighter garb, and his Toreador Song is full of swagger and bravado. The stand-out performance for us, and for many of the audience, judging by their incredibly enthusiastic response, is South Korean soprano Hye-Youn Lee as José’s childhood sweetheart, Micaëla. Her Act III aria is simply glorious as she soars over the orchestra to pray for José.

Don José is certainly the central character in this production. Because most of the story is told in flashbacks with José retelling what happened, everything he does onstage is tinged with the regret and guilt of his final actions. Tenor Alok Kumar captures this excellently – not only is his voice rich and soaring, but his acting is sublime, both through song and in his spoken dialogue. He is a broken man, from the moment we meet him until the moment the curtain falls, as Justina Gringtyé’s Carmen lies dead beside him. Gringtyé is a sensuous, powerful Carmen – she casts a spell over the whole company in her Habañera (emphasised with simple but effective chorus choreography by Jenny Ogilvie) and holds that spell throughout. Her mezzo is rich and full-throated, with some serious power in the lower register, and it’s easy to see how Carmen charms and bewitches the men in the opera.

The Orchestra of Scottish Opera is wonderfully responsive under Dane Lam’s baton. He coaxes glorious colours and timbres out of Bizet’s very well-known score, with the Intermezzo which opens Act III appearing as a real highlight.

This is a blistering production of a classic opera, concluding Scottish Opera’s 60th anniversary season with a powerful, emotional climax.

***** Five stars

Reviewed by: Lorna Murray

Scottish Opera: Bizet’s Carmen plays at the Festival Theatre Edinburgh until 17 June, with further information here.