You’ve just come from London, where you did a performance with Marina Abramović involving famous scenes from Maria Callas’s career. How was that?
That was completely different, with a very different public. It was a mix of visual art and classical singing. We were a soundtrack to the visual art, which didn’t bother me. I thought, if it brings a new audience, then why not? Our art form at this moment is in a very vulnerable position. Now is the time to collaborate, to try new collaborations. Some will work, some may not. But we have to try.
Tell me about this production of Carmen, which is a role you’ve done several times now. How is this production different?
This is the seventh production of Carmen for me. This season for me is full of Carmen; I call it “50 Shades of Carmen.” [Laughs.] I opened the season with Carmen in Munich, then I sang it in Berlin. Now I am singing it here in a new production. After, I will go to London, where it will be another new production. Then I have Carmen in Glyndebourne. Then in Napoli…constantly Carmen. But this is the first time I am creating the show from a woman’s perspective. Carrie Cracknell, the director, has a very clear idea of what message she wants to send to the world. We want to have some empathy for Carmen. To not explain that her death is a crime of passion, [but] that no matter what, she didn’t deserve to die. Domestic violence is happening, it’s a part of our culture. Most of the time, society just closes their eyes. This problem exists and we need to pay attention.
The production is set in present-day in America. How does that work?
It is set in the modern world, in America. The tobacco factory from the original is a gun factory. It deals with crossing the border, guns, drugs. And we are people that are trying to get a better life.
How will this Carmen look?
We are still doing the costume fittings, but it’s a modern world. The style is a bit street. It’s very casual: T-shirts, jeans. She has these amazing turquoise cowboy boots. The star of the show will be the boots. [Laughs.] It will be hip-hop, street style. It’s interesting to combine this music with that choreography.
When you mention hip-hop and Carmen together, I immediately think of Beyoncé’s Carmen: A Hip Hopera from 2001. Have you seen it?
