The Met Opera’s new production of Bizet’s “Carmen” stars trucks. Or rather tractor trailers, ready to move goods. In the first act, which the libretto sets in a Seville cigarette factory, workers crowd around a loading dock, loading boxes into a trailer whose destination is unknown. In the second act, Carmen and her smuggler gang have absconded with one, whose contents are still mysterious. In the third, we have reached a crisis: the truck is now on its side, the supply chain disrupted.
Turn The Machine Inward
New stagings of “Carmen” and “Lucia di Lammermoor” at the Met ignore the complexities of opera in America
