Robert Carsen’s producton of Janáček’s Kat’a Kabanová is typically simple and elegant. Recorded at the teatro Real in Madrid it features a flooded stage with a large number of wooden pieces, like palettes, that are rearranged to form the set. At the beginning of Act 1 the pieces form a pathway through the water simulating the banks of the Volga. Later they are rearranged int a square at centre stage to represent the claustrophobic Kabanov house. All this rearrangement is done by the ladies of the chorus who roll around in the water in white shifts. No breaks are needed between scenes, just the intermezzi the composer provided for the purpose. A mirror at the back of the stage reflecting the water and an elegant and effective lighting plot complete the staging.
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What’s green and blue and Carsen all over?
Robert Carsen’s production of Britten’s A Midsummer Night’s Dream is as visually striking as any of his productions. It’s also one that’s done the rounds, playing in Aix and Lyon before being recorded by a strong cast at the Liceu in Barcelona in 2005. The challenge with Dream is to create visual worlds for the Fairies and the Mortals that are different but work together. Carsen and his usual design team do this very well in this case. The Fairies are given striking green and blue costumes with red gloves. The mortals mostly run to white and cream and gold and they seem to spend a lot of time in their underwear. The lighting, as always with Carsen, forms an important part of the overall design. Carsen completists will also notice certain other characteristic touches like starkly arranged furniture.

