When the fiery gypsy Carmen first burst onto the stage in 1875 in Georges Bizet’s opera of the same name, she was something of a shocker. French audiences, used to meeker heroines, often from more lofty backgrounds, were taken aback by the earthy Carmen and her defiant independence, her determination to live life on her terms, especially when it came to love.

Nearly 150 years later, Carmen, which opens the Sarasota Opera’s 2024 Winter Festival, still arouses strong audience reactions. But now, performances are more likely to end with fervent applause. Carmen, through innumerable productions, recordings and various adaptations over the decades, has become one of the most popular of all operas. And, those less familiar with the opera world should take note: It’s one you probably already know even if you’ve never set foot inside an opera house.

That’s because much of Bizet’s music from the opera—its seductive Habanera, rousing Toreador Song and flamenco-flavored Seguidilla—has been used in other forms of performance besides opera. On film, Carmen has been portrayed by everyone from Rita Haworth to Dorothy Dandridge (with an all-Black cast) to Beyonce Knowles. Modern stage adaptations have brought the story of Carmen and her lovers, Don Jose and Escamillo, to life through various interpretations. There’s even been a version set on ice, starring Olympic gold medalist Katarina Witt.

Sarasota Opera executive director Richard Russell says that Carmen is often the first opera someone sees and hears—as it was for him.

“It’s something I have great affection for,” he says. “I think it’s a great first opera, because of the storytelling and so many ‘hit tunes’ in it. They used it on the soundtrack for the movie Bad News Bears back in the 1970s; there was even a Gilligan’s Island episode where they used all this music. But we shouldn’t discount it; even though it’s popular, it’s really good music.”

Stage director of the Sarasota Opera production Martha Collins agrees. “The last time we did Carmen,” she remembers, “there was a husband and wife leaving after the opera. He came over and said, ‘I’ve always said I hate opera, but my wife got me to come. And I realized I know opera; I love this music.’”

Beyond the remarkable music, Collins adds, “You’re led from one incredible moment to the next. There’s not a moment when you’re not captivated by the characters.”

Carmen’s Don Jose, who dooms himself and his career due to his jealous passion for Carmen; and Escamillo, the confident bullfighter Carmen takes up with after leaving Don Jose behind, are certainly strongly drawn and defined characters. But for many, it’s Carmen herself who makes Bizet’s ground-breaking opera so unique.

“Carmen is someone who is very unpretentious, very direct,” says Collins. “The original French audience could not accept that this was a woman who was making her own decisions, her own choices, choosing her lovers. What woman was allowed to do that?”

Today, she adds, “We don’t see Carmen as a villain who seduced someone, but as this wonderful, charismatic woman living the life she deserves. The story is still so relevant, the audience can absolutely relate to these people and understand their dilemma, their conflict.”

While the initial response to Carmen, back in the 1870s, may have disappointed its composer (who died shortly after its debut), Russell says, “The story of its initial failure was a bit of hyperbole. In fact, fairly soon after the first performance it was taken up in France and became so popular that it then played in New York. If Bizet had lived a few weeks more, he would have seen that.” Carmen was also popular with Italian audiences, who responded to its passion, and it influenced the later, realistic verismo style of composers including Puccini.

This will be the Sarasota Opera’s sixth staging of Carmen, with the orchestra led by Maestro Victor DeRenzi. Performances take place on certain dates Feb. 17 through March 22 in the opera’s four-production season. For more details and tickets, visit sarasotaopera.org or call (941) 328-1300.