Music GEORGES BIZET
Musical director and conductor SIIM AIMLA
Choreographer and stage director MARINA KESLER (Estonian National Ballet)
Artist MADIS NURMS
Lighting PRIIDU ADLAS

Carmen – SOFIA RUBINA-HUNTER, MARITA WEINRANK (Estonian National Ballet)
José – RENÉ SOOM (Estonian National Opera), JEVGENI GRIB (Estonian National Ballet)
Escamillo – KRISTJAN KASEARU, ANATOLI ARHANGELSKI (Estonian National Ballet)
ESTONIAN DREAM BIG BAND
Also featuring MIXED CHOIR OF THE UNIVERSITY OF TARTU VILJANDI CULTURE ACADEMY– conductor PILLE KÄHRIK, dance students of the University of Tartu Viljandi Culture Academy

A musical performance pushing the boundaries of genres, staged at the Viljandi Song Square.

A new version of Bizet’s cult opera accompanied by a big band.

Marina Kesler, choreographer and stage director: ‘To me, Carmen Loves Jazz is primarily an exciting and explosive synthesis of different genres and styles. An intoxicating cocktail of classical themes and jazz interpretation inspires to perform courageous experiments with form and content. Singing and dancing characters will be on stage at once, entwining heated passion, deep love, zest, and an enjoyment of life. No one, neither on stage nor in the audience, will be able to remain indifferent.’

Siim Aimla, musical director and conductor: ‘Carmen has the largest amount of recognisable melodies – one could even say “hits” – among all operas. Since the early days of jazz, well-known melodies have been improvised on and famous songs have been arranged. This time, in addition to music, we intend to reinterpret the entire dramatization of Carmen.’

Madis Nurms, artist: ‘Carmen in the key of jazz is much more debauched in comparison with the opera that precedes it – charged with urbanist flows and unabashedly raunchy. The saxophone was a forbidden instrument in the 1960s for a reason! For me, the tones of the big band arrangement and the juicy improvisation shed light to entirely new nuances in Mérimée’s story. The cynical attitude of Carmen’s character takes centre stage – “If it’s necessary to go as far as a smile, what of it? – we’ll smile!” (Carmen Act III) – and she could quickly make her sexual capital work in her favour. The question is how it can be done without being stabbed in the ribs – literally or figuratively.’

The performance is dedicated to maestro Eri Klas.