Lindy Larsson’s portrayal of Carmen at the Maxim Gorki Theater in Berlin is a radical reimagining of the often-stereotyped operatic character. Dressed in a vibrant pink silk gown and wig, Larsson embodies Carmen with a smooth baritone voice, an unwavering posture, and a political message subtly woven into the performance. This isn’t the typical seductive Carmen; this is a Roma rebel, punk, sensual, and deeply moving. Larsson’s Carmen is a complex character who defies expectations and challenges the audience to confront ingrained prejudices. The performance transcends the familiar narrative, transforming it into a powerful statement of identity and resistance.
Christian Weise’s direction complements Larsson’s performance, blending elements of drag show, Western parody, Brechtian sprechgesang, and commedia dell’arte. This eclectic mix creates a unique theatrical experience that moves beyond traditional opera. Despite the theatrical flourishes, the core of the performance remains intensely human. When Larsson’s Carmen sings ”Séguidillan” in Romani, circling a timid and diminutive Don José (also in drag), she becomes undeniably real and captivating. The performance transcends the theatrical elements and connects with the audience on a visceral level.
Larsson’s recent work adds another layer of significance to his Carmen. Having toured with ”Tschandala/Tattaren,” a performance exploring his experiences growing up as a Roma and gay man in rural Sweden, and having played the classic queer role of Zac in ”Änglagård,” Larsson brings a personal depth to his portrayal. His performance of Carmen resonates with current social and political anxieties surrounding identity and gender, particularly in a time when harmful rhetoric about these topics proliferates. This timely interpretation amplifies the resonance of Carmen’s struggle against societal expectations and prejudice.
The performance of Carmen takes on a particularly poignant meaning against the backdrop of current political tensions in Germany. Just hours before the performance, Elon Musk made controversial statements during a campaign rally, urging Germans to move past the shame of the Holocaust. This context adds another layer of complexity to Larsson’s portrayal of Carmen, a character historically exoticized and marginalized. Simultaneously, thousands of protesters marched against the far-right AFD party, highlighting the ongoing struggle against extremism and intolerance. This charged political atmosphere underscores the urgency of Carmen’s message of defiance and resistance.
Larsson’s Carmen explicitly addresses the historical burden of her character. She declares her weariness of being killed night after night, a reference to the tragic ending of the opera. She points to the exotification she suffered under the Nazis and the misogynistic portrayal crafted by the librettists. Her desire to ”die for good” signals a rejection of these imposed narratives and a reclaiming of her own story. This powerful statement transforms the traditional narrative into an act of defiance.
In a surprising twist, Larsson’s Carmen leads the audience in a rendition of the Toreador Song, typically associated with the character Escamillo. This act of reclaiming a traditionally masculine symbol further subverts expectations and empowers the audience. By inviting the audience to participate in this act of defiance, Larsson’s Carmen transforms the performance into a shared experience of resistance and hope. The call to ”Auf in den Kampf” (Up to the fight) echoes beyond the theater, resonating with the broader social and political struggles for equality and justice.
