Tunisian-Canadian mezzo-soprano Rihab Chaieb returns to LA Opera as Carmen
What drives Carmen?
Her freedom is more important than anything else—any person, religion or society. And she says it in the opera: “Libre elle est née et libre elle mourra”: free she was born, free she will die. And she will see it through.
What does freedom mean to her?
When Carmen talks about freedom, it’s with a capital F. At the time the opera was written, a woman was as good as the man she married. Carmen makes her own decisions. She has power over her body, her sexual life, whether she works or not—everything. Men want her, but they want to possess and control her. Women are jealous of her but secretly want to be her. It’s the freedom to be utterly and unapologetically yourself. And that quest for freedom hasn’t really gone out of fashion in today’s world.
Does she love Don José?
I think she would use the word “love” very loosely. Don José is an exciting chapter in her life because he is the one who doesn’t initially throw himself at her, so he’s mysterious. She finds that amusing. But what starts as a playful “situationship” very quickly becomes abusive and possessive, and that’s not what she signed up for. I think she has much more affinity with Escamillo.
‘Carmen’ 2026 • Photo: LA Opera/Cory Weaver.
How has your Carmen changed over the years?
The first few times, I was seeking a lot of external validation, especially from my audience. It’s such an iconic role that you want to sing the “right” Carmen. But now, I make it a point to be more and more myself. It’s not who I think Carmen is—it’s me as Carmen. I’m Carmen.
What’s distinctive about Thaddeus Strassberger’s staging?
There’s a mysterious presence throughout the opera that Thaddeus calls the “España Oscura,” with these dark spirits of the past, present and future. It’s mystical, dangerous, almost magical. There’s more of a sense of witchcraft than in other productions I’ve done. And the ending is unusual—and it became very collaborative. Thaddeus had an idea, I had an idea, and we met right in the middle. I’ve loved working with him.
‘Carmen’ 2026 • Photo: LA Opera/Cory Weaver.
And you’re playing castanets?
Yes! I’ve never played them before, so I’m learning. Thank God we have Antonio Najarro, our choreographer, who’s an incredible castanet player and flamenco dancer. I did a little flamenco when I was younger, but it’s been a long time and he’s keeping me busy! I will be playing the castanets, singing and dancing. All three at the same time! I’ve been in many productions of Carmen, but none as physical and active as this one. Expect a lot of action, thanks to our wonderful fight director Ran Arthur Braun.
Which is more fun to sing: the Habanera or the Seguidilla?
Habanera. It’s iconic, and you immediately have everyone’s attention. It’s where you establish who Carmen is: she’s flirty, she doesn’t care what people think of her, she’s powerful, she’s sweet—but don’t cross her. You get all of that in one aria.
‘Carmen’ 2026 • Photo: LA Opera/Cory Weaver.
Does being a native French speaker help?
Absolutely. I’m very grateful French is one of my first two languages (along with Arabic), because French is a bitch.
After spending so much time in Carmen’s head, what advice would you give Don José?
One: Run away—for everyone’s sake! Carmen and José are just a dangerous concoction of oil and fire. They’re probably good people in their own lives, but together it’s lethal. Two: Go back to Micaëla. He has mother issues and she is better suited to his personality.
*Reprinted by permission of LAOpera. Carmen runs through November 7
