Advanced tickets are on sale for “Carmen in 3D,” opening nationwide exclusively in RealD 3D-equipped theatres Saturday, March 5th.
The first-ever live opera shot in 3D during live performances at the Royal Opera House and released in 3D cinemas, “Carmen in 3D” premiered on February 6th as the closing night film of the Santa Barbara International Film Festival. The co-production by RealD and the internationally renowned Royal Opera House will open in more than 750 domestic locations including major cinema circuits Regal, AMC, Cinemark, Carmike and Rave. RealD Inc. and the Royal Opera House announced today (Monday, Feb. 7) that advanced tickets and group ticket sales are now available in the United States online, e-mail (Carmen3D@monarchws.com) or by calling RealD at (855) 227-6364.
“As an exclusive offering for our theater exhibitor partners, we look forward to engaging audiences both young and old with this first of its kind reimagining of this timeless opera classic,” said Joseph Peixoto, President of Worldwide Cinema, RealD.
“I’m thrilled that we, together with RealD, are able to lead the way in taking opera into a new realm with 3D,” said Tony Hall, Chief Executive, Royal Opera House. “To bring one of the world’s most popular operas, performed by one of the greatest opera companies in the world, to fans of opera, classical music and 3D movies everywhere is fantastic.”
“It’s absolutely incredible to see the production come alive in a different way on screen in RealD 3D, and it’s wonderful that we can use new technology to seemingly transport audiences from around the world to the Royal Opera House, fully immersing them in one of the most popular operas of all time,” said Francesca Zambello, director of the stage production.
Directed for cinema by Julian Napier and produced by Phil Streather, with performances by Christine Rice (Carmen), Bryan Hymel (Don José), Aris Argiris (Escamillo), and conducted by Constantinos Carydis, Zambello’s successful production of Carmen was a hit with London audiences and critics.
— By Scott Hettrick