At the Salzburg Festival this summer, two contrasting operatic productions have drawn attention for their ambition and execution. Gabriela Carrizo’s directorial debut with Bizet’s *Carmen* has been widely praised for its innovative approach, while Olivier Messiaen’s *Saint François d’Assise* has presented both artistic and logistical challenges in a new staging.

Carrizo, known primarily for her work in contemporary dance, undertook her first opera direction with *Carmen*, collaborating with conductor Teodor Currentzis, whose repertoire typically centers on Mozart and Baroque works. Their joint effort resulted in a production noted for its dark, gripping coherence and fresh interpretive depth. Rather than attempting to transform or modernize the opera’s narrative, Carrizo focused on exploring the underlying social forces that shape the characters, particularly in a militarized society marked by cruelty and control.

This *Carmen* eschews traditional visual clichés of the title character, portrayed by Asmik Grigorian, who embodies an everywoman’s strength and defiance without resorting to overt sensuality. Jonathan Tetelman’s Don José is reimagined as a timid individual incapable of accepting rejection, shedding the stereotype of a passionate lover pushed to extremes. Reviewers highlighted the seamless integration of the singers into Carrizo’s dance ensemble, creating a unified expressive force that communicates both narrative and emotion convincingly. Currentzis’s conducting complemented this vision with a controlled yet dynamic musical direction, supported by a dedicated orchestra and chorus.

In stark contrast, the production of Messiaen’s *Saint François d’Assise* offered a formidable test of endurance and theatricality. The opera, known for its extensive length of over six hours and demanding orchestration including a large percussion section and chorus, was staged under the direction of Romeo Castellucci. Despite Castellucci’s reputation for symbolic and visually provocative works, the production was viewed by some as overwhelmed by the scale and complexity of the material.

Philippe Sly’s performance in the title role received acclaim for vocal excellence, and the cast demonstrated considerable skill. However, critics questioned whether the conducting by Maxime Pascal fully captured the intricacies of Messiaen’s score, describing the musical interpretation as lacking in clarity and emotional resonance. The Vienna Philharmonic’s involvement, though prestigious, was seen by some as underutilized, with the music occasionally perceived as mechanical.

Castellucci’s staging incorporated stark imagery, including scenes of self-mutilation and psychosis, as well as moments of unsettling realism, such as the use of birds and live animals on stage. These elements sparked debate about their symbolic meaning and impact on audience engagement. The production’s intellectual weight and austere modernist style make it a demanding experience, reflecting the enduring challenges of presenting Messiaen’s monumental work.

*Saint François d’Assise* runs at Salzburg through August 23, while *Carmen* is scheduled until August 26. Both productions demonstrate the festival’s commitment to artistic risk-taking, albeit with markedly different receptions.