Francesca Zambello’s Carmen for the Royal Opera House has more going for it than is immediately apparent. On the face of it it’s a very traditional, conservative production; period costumes, literal sets, hordes of kids in Acts 1 and 4, live animals, but a close look reveals rather more. Zambello reveals her intentions during the overture where we see a manacled, distraught Don José dragged to execution by a masked executioner. This is going to be Don José’s story rather than one that focuses almost exclusively on the title character. What we see here is a stark contrast between what Don José really wants; respectability, an obedient wife, conformity with the Church, honour and what key choices, accidents and conflicts drive him to; criminality, liminality, execution and, we may suppose, damnation. The staging subtly highlights each of the key moments in Don José’s descent; his arrest and demotion in Act1, the fight with Zuniga in Act 2 and the realisation, in Act 3, that Carmen will never be the women he really wants reinforced by Micaëla’s aria that ironically offers him the choice he can no longer make and does so unmistakeably in terms of Catholic eschatology. There is so much more going on here than a sexy woman and some pretty tunes.