First, the theatre decided to revive an old Spanish translation of the French libretto, in an appealing attempt to foster dialogue between opera and zarzuela. Second, talented young director Ana Zamora had promised a feminist reinterpretation of the myth of Carmen, bringing it back to its Spanish cultural context. The opening night of Paolo Pinamonti's second season as director of the Teatro de la Zarzuela had, in principle, its fair share of artistic incentives.
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