When Prosper Merimee wrote his short story in 1845, it was considered shocking and scandalous. There was no Micaela to temper Jose’s wild nature and Carmen had other lovers apart from Escamillo. From the original version to this Flamenco-Contemporary fusion, content has been adapted, but the main thrust has been retained with the anti-heroine at the centre of a mix of emotive characters. In all the variations of Carmen, she has always been depicted as a self-sufficient woman, with a desire to be free to love whoever she wants. On the other hand, with the introduction of Micaela, a natural foil of contrast very clearly prevails.
Moveo creates a performance with a constant changing mixture of true love, smuggling, sex, and murder, “Carmen is an opera imbued with irony and sarcasm, and we give a free rein to the emotions of each of the main characters. Are they evil, addicts, liberated, feminist, victims, innocent, exotic, murderers, or a mere combination of all?