It's no secret. Sex sells. Violence is thrilling too. Film and reality TV producers know it, and so do ballet choreographers. Back in 1949, ballet master Roland Petit made headlines with his sexually provocative Carmen. The tragic tale of a gypsy girl who scorns a handsome sergeant, seduction, betrayal, a murder, it has all of the best elements and remains one of the most popular and racy ballets.

Along with Elizabeth Wistrich's semi-erotic Enigma, a condensed version of Carmen brings City Ballet's 18th season to a rewarding and steamy end. The program continues at the Spreckels Theatre through Sunday afternoon with an alternating cast.

Based on a short story (by Prosper Merimee) and George Bizet’s rich opera score, the setting is a cigarette factory in Seville. Sets by Stivanello of New York create the town square outside the bullfighting arena and smuggler’s hideout. Costumes are bright and designed to show lots of leg. There are no tutus or “bun heads.” The women and hair are loose. They like to fight and flirt, especially Carmen, who eats young soldiers for breakfast.

At Friday’s opening, a smoldering Janica Smith as Carmen seduced the audience and finally John Henry Reid, as Don Jose. Watching Smith and Reid in the Pas de Deux was exciting yet difficult to watch because it was so authentically passionate. Viewers were compelled to look away. Each time she extended her strong legs, she grew more powerful and dangerous.

In the final murder scene, Don Jose slams Carmen to the ground and she fights for her life. The violence is shocking. Still, the superb Reid let viewers experience his humiliation and loss of dignity. When the once impeccable man appeared ragged and obsessed with jealousy, you could accept his rage.

Gerardo Gil returned as the bullfighter Escamillo. A showoff in pink tights, he added a hint of fun to an otherwise dark atmosphere. He teased Carmen with her red shawl in bullfighter style, and his Latin confidence made him the perfect choice for the role.

Gypsy girls sashayed with spicy expressions. A fortune-telling scene was effective, without overly thick pantomime. Geoff Gonzalez was a standout soldier and smuggler. Even as a bad guy he was charming, and he had solid timing.

Carmen is popular in large part because of Bizet’s irresistable and danceable score. (San Diego Opera starts its run of Carmen May 14). In sharp contrast, City Ballet’s version opened with Enigma, set to the Europop mix of Gregorian chants and dance beats by the same name. Romanian composer Michael Cretu’s score is an acquired taste.

Wistrich deservingly won a Tommy Award from the now defunct Dance Alliance back in 2000 for the choreography in Enigma. Dancers performed nicely with clean sleek lines in the realm of Olympic swimmers, but video of dancers frolicking at the beach, and horses galloping, was a distraction. Eleven years after its debut, the multi-media approach felt sleazy and dated.

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