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''Carmen'' () is an opera in four acts by the French composer
Georges Bizet Georges Bizet (; 25 October 18383 June 1875) was a French composer of the Romantic music, Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, ''Carmen'', whi ...
. The
libretto A libretto (Italian for "booklet") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or Musical theatre, musical. The term ''libretto'' is also sometimes used to refer to the t ...
was written by
Henri Meilhac Henri Meilhac (23 February 1830 – 6 July 1897) was a French dramatist and opera librettist, best known for his collaborations with Ludovic Halévy on Georges Bizet's ''Carmen'' and on the works of Jacques Offenbach, as well as Jules Massenet's ...
and
Ludovic Halévy Ludovic Halévy (1 January 1834 – 7 May 1908) was a French author and playwright, best known for his collaborations with Henri Meilhac on Georges Bizet's ''Carmen'' and on the works of Jacques Offenbach. Biography Ludovic Halévy was born in P ...
, based on the novella of the same title by
Prosper Mérimée Prosper Mérimée (; 28 September 1803 – 23 September 1870) was a French writer in the movement of Romanticism, and one of the pioneers of the novella, a short novel or long short story. He was also a noted archaeologist and historian, and a ...
. The opera was first performed by the
Opéra-Comique The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne ...
in Paris on 3 March 1875, where its breaking of conventions shocked and scandalised its first audiences. Bizet died suddenly after the 33rd performance, unaware that the work would achieve international acclaim within the following ten years. ''Carmen'' has since become one of the most popular and frequently performed operas in the classical
canon Canon or Canons may refer to: Arts and entertainment * Canon (fiction), the conceptual material accepted as official in a fictional universe by its fan base * Literary canon, an accepted body of works considered as high culture ** Western can ...
; the " Habanera" from act 1 and the "
Toreador Song The Toreador Song is the popular name for the aria "" ("I toast you"), from the French opera ''Carmen'', composed by Georges Bizet to a libretto by Henri Meilhac and Ludovic Halévy. It is sung by the bullfighter (French: '' toréador'') Escamil ...
" from act 2 are among the best known of all operatic arias. The opera is written in the genre of ''
opéra comique ''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular '' opéras comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a l ...
'' with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery
gypsy The Romani (also spelled Romany or Rromani , ), colloquially known as the Roma, are an Indo-Aryan ethnic group, traditionally nomadic itinerants. They live in Europe and Anatolia, and have diaspora populations located worldwide, with sign ...
Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous
torero A bullfighter (or matador) is a performer in the activity of bullfighting. ''Torero'' () or ''toureiro'' (), both from Latin ''taurarius'', are the Spanish and Portuguese words for bullfighter and describe all the performers in the activity ...
Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial. After the premiere, most reviews were critical, and the French public was generally indifferent. ''Carmen'' initially gained its reputation through a series of productions outside France, and was not revived in Paris until 1883. Thereafter, it rapidly acquired popularity at home and abroad. Later commentators have asserted that ''Carmen'' forms the bridge between the tradition of ''opéra comique'' and the realism or ''
verismo In opera, ''verismo'' (, from , meaning "true") was a post-Romantic operatic tradition associated with Italian composers such as Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano, Francesco Cilea and Giacomo Puccini. ''Verismo'' as an ...
'' that characterised late 19th-century Italian opera. The music of ''Carmen'' has since been widely acclaimed for brilliance of melody, harmony, atmosphere, and orchestration, and for the skill with which Bizet musically represented the emotions and suffering of his characters. After the composer's death, the score was subject to significant amendment, including the introduction of
recitative Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repea ...
in place of the original dialogue; there is no standard edition of the opera, and different views exist as to what versions best express Bizet's intentions. The opera has been recorded many times since the first
acoustical Acoustics is a branch of physics that deals with the study of mechanical waves in gases, liquids, and solids including topics such as vibration, sound, ultrasound and infrasound. A scientist who works in the field of acoustics is an acoustician ...
recording in 1908, and the story has been the subject of many screen and stage adaptations.


Background

In the Paris of the 1860s, despite being a
Prix de Rome The Prix de Rome () or Grand Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them t ...
laureate, Bizet struggled to get his stage works performed. The capital's two main state-funded opera houses— the Opéra and the
Opéra-Comique The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne ...
—followed conservative repertoires that restricted opportunities for young native talent. Bizet's professional relationship with
Léon Carvalho Léon Carvalho (18 January 1825 – 29 December 1897) was a French impresario and stage director. Biography Born Léon Carvaille in Port Louis, British Mauritius, he came to France at an early age. He studied at the Paris Conservatory and sa ...
, manager of the independent
Théâtre Lyrique The Théâtre Lyrique was one of four opera companies performing in Paris during the middle of the 19th century (the other three being the Opéra, the Opéra-Comique, and the Théâtre-Italien). The company was founded in 1847 as the Opéra-N ...
company, enabled him to bring to the stage two full-scale operas, ''
Les pêcheurs de perles ' (''The Pearl Fishers'') is an opera in three acts by the French composer Georges Bizet, to a libretto by Eugène Cormon and Michel Carré. It was premiered on 30 September 1863 at the Théâtre Lyrique in Paris, and was given 18 performances in ...
'' (1863) and ''
La jolie fille de Perth ''La jolie fille de Perth'' (''The Fair Maid of Perth'') is an opera in four acts by Georges Bizet (1838–1875), from a libretto by Jules-Henri Vernoy de Saint-Georges and Jules Adenis, after the 1828 novel ''The Fair Maid of Perth'' by Sir Walt ...
'' (1867), but neither enjoyed much public success. When artistic life in Paris resumed after the Franco-Prussian War of 1870–71, Bizet found wider opportunities for the performance of his works; his one-act opera ''
Djamileh ''Djamileh'' is an ''opéra comique'' in one act by Georges Bizet to a libretto by Louis Gallet, based on an oriental tale, ''Namouna'', by Alfred de Musset. Composition history De Musset wrote ''Namouna'' in 1832, consisting of 147 verses in thr ...
'' opened at the Opéra-Comique in May 1872. Although this failed and was withdrawn after 11 performances, it led to a further commission from the theatre, this time for a full-length opera for which
Henri Meilhac Henri Meilhac (23 February 1830 – 6 July 1897) was a French dramatist and opera librettist, best known for his collaborations with Ludovic Halévy on Georges Bizet's ''Carmen'' and on the works of Jacques Offenbach, as well as Jules Massenet's ...
and
Ludovic Halévy Ludovic Halévy (1 January 1834 – 7 May 1908) was a French author and playwright, best known for his collaborations with Henri Meilhac on Georges Bizet's ''Carmen'' and on the works of Jacques Offenbach. Biography Ludovic Halévy was born in P ...
would provide the libretto. Halévy, who had written the text for Bizet's student opera ''
Le docteur Miracle ''Le docteur Miracle'' (''Doctor Miracle'') is an opérette in one act by the French composer Georges Bizet. The libretto, by Léon Battu and Ludovic Halévy, is based on Sheridan's play ''Saint Patrick's Day''. Bizet wrote the work when he was j ...
'' (1856), was a cousin of Bizet's wife,
Geneviève Genevieve (french: link=no, Sainte Geneviève; la, Sancta Genovefa, Genoveva; 419/422 AD – 502/512 AD) is the patroness saint of Paris in the Catholic and Orthodox traditions. Her feast is on 3 January. Genevieve was born in Nanterre an ...
; he and Meilhac had a solid reputation as the librettists of many of
Jacques Offenbach Jacques Offenbach (, also , , ; 20 June 18195 October 1880) was a German-born French composer, cellist and impresario of the Romantic period. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera '' ...
's operettas. Bizet was delighted with the Opéra-Comique commission, and expressed to his friend Edmund Galabert his satisfaction in "the absolute certainty of having found my path".Dean 1965, p. 100 The subject of the projected work was a matter of discussion between composer, librettists and the Opéra-Comique management;
Adolphe de Leuven Adolphe de Leuven (30 September 1802 – 14 April 1884) was a French theatre director and a librettist. Also known as Grenvallet, and Count Adolph Ribbing. He was the illegitimate son of Adolph Ribbing, who was involved in the assassination of G ...
, on behalf of the theatre, made several suggestions that were politely rejected. It was Bizet who first proposed an adaptation of
Prosper Mérimée Prosper Mérimée (; 28 September 1803 – 23 September 1870) was a French writer in the movement of Romanticism, and one of the pioneers of the novella, a short novel or long short story. He was also a noted archaeologist and historian, and a ...
's novella ''
Carmen ''Carmen'' () is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the Carmen (novella), novella of the same title by Prosper Mérimée. The opera was first perfo ...
''. Mérimée's story is a blend of travelogue and adventure yarn, possibly inspired by the writer's lengthy travels in Spain in 1830, and had originally been published in 1845 in the journal ''
Revue des deux Mondes The ''Revue des deux Mondes'' (, ''Review of the Two Worlds'') is a monthly French-language literary, cultural and current affairs magazine that has been published in Paris since 1829. According to its website, "it is today the place for debates a ...
''. It may have been influenced in part by
Alexander Pushkin Alexander Sergeyevich Pushkin (; rus, links=no, Александр Сергеевич ПушкинIn pre-Revolutionary script, his name was written ., r=Aleksandr Sergeyevich Pushkin, p=ɐlʲɪkˈsandr sʲɪrˈɡʲe(j)ɪvʲɪtɕ ˈpuʂkʲɪn, ...
's 1824 poem " The Gypsies", a work Mérimée had translated into French; it has also been suggested that the story was developed from an incident told to Mérimée by his friend the Countess Montijo. Bizet may first have encountered the story during his Rome sojourn of 1858–60, since his journals record Mérimée as one of the writers whose works he absorbed in those years.


Roles

* Cast details are as provided by Curtiss from the original piano and vocal score. The stage designs are credited to Charles Ponchard.


Instrumentation

The orchestration consists of two
flutes The flute is a family of classical music instrument in the woodwind group. Like all woodwinds, flutes are aerophones, meaning they make sound by vibrating a column of air. However, unlike woodwind instruments with reeds, a flute is a reedless ...
( doubling
piccolo The piccolo ( ; Italian for 'small') is a half-size flute and a member of the woodwind family of musical instruments. Sometimes referred to as a "baby flute" the modern piccolo has similar fingerings as the standard transverse flute, but the so ...
), two
oboe The oboe ( ) is a type of double reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites. The most common oboe plays in the treble or soprano range. A ...
s (the second doubling
cor anglais The cor anglais (, or original ; plural: ''cors anglais''), or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, making it essentially an alto ...
), two
clarinet The clarinet is a musical instrument in the woodwind family. The instrument has a nearly cylindrical bore and a flared bell, and uses a single reed to produce sound. Clarinets comprise a family of instruments of differing sizes and pitches ...
s, two
bassoon The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuo ...
s, four horns, two
trumpet The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard ...
s, three
trombone The trombone (german: Posaune, Italian, French: ''trombone'') is a musical instrument in the Brass instrument, brass family. As with all brass instruments, sound is produced when the player's vibrating lips cause the Standing wave, air column ...
s,
harp The harp is a stringed musical instrument that has a number of individual strings running at an angle to its soundboard; the strings are plucked with the fingers. Harps can be made and played in various ways, standing or sitting, and in orche ...
, and
strings String or strings may refer to: *String (structure), a long flexible structure made from threads twisted together, which is used to tie, bind, or hang other objects Arts, entertainment, and media Films * ''Strings'' (1991 film), a Canadian anim ...
. The percussion section consists of
timpani Timpani (; ) or kettledrums (also informally called timps) are musical instruments in the percussion family. A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionall ...
,
side drum The snare (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used in ...
,
triangle A triangle is a polygon with three Edge (geometry), edges and three Vertex (geometry), vertices. It is one of the basic shapes in geometry. A triangle with vertices ''A'', ''B'', and ''C'' is denoted \triangle ABC. In Euclidean geometry, an ...
,
tambourine The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called "zills". Classically the term tambourine denotes an instrument with a drumhead, though ...
,
cymbal A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs soun ...
s,
castanets Castanets, also known as ''clackers'' or ''palillos'', are a percussion instrument (idiophone), used in Spanish, Kalo, Moorish, Ottoman, Italian, Sephardic, Swiss, and Portuguese music. In ancient Greece and ancient Rome there was a similar ...
, and
bass drum The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. Th ...
.Bizet, Georges. ''Carmen. Opéra comique en quatre actes''. Critical Edition edited by Robert Didion. Ernst Eulenberg Ltd, 1992, 2003, p. XVIII. The orchestral complement for the premiere run was 62 or 57 musicians in total (depending on whether the pit trumpet and trombone players doubled off-stage music).de Solliers, Jean. Commentaire litteraire et musical. In: ''Carmen, Bizet. L'Avant Scène Opéra, no 26''. Paris, Editions Premières Loges, 1993, p. 23.


Synopsis

:Place:
Seville Seville (; es, Sevilla, ) is the capital and largest city of the Spanish autonomous community of Andalusia and the province of Seville. It is situated on the lower reaches of the River Guadalquivir, in the southwest of the Iberian Peninsula ...
, Spain, and surrounding hills :Time: Around 1820


Act 1

''A square, in Seville. On the right, a door to the tobacco factory. At the back, a bridge. On the left, a guardhouse.'' A group of soldiers relax in the square, waiting for the changing of the guard and commenting on the passers-by ("Sur la place, chacun passe"). Micaëla appears, seeking José. Moralès tells her that "José is not yet on duty" and invites her to wait with them. She declines, saying she will return later. José arrives with the new guard, who is greeted and imitated by a crowd of urchins ("Avec la garde montante"). As the factory bell rings, the cigarette girls emerge and exchange banter with young men in the crowd ("La cloche a sonné"). Carmen enters and sings her provocative habanera on the untameable nature of love ("L'amour est un oiseau rebelle"). The men plead with her to choose a lover, and after some teasing she throws a flower to Don José, who thus far has been ignoring her but is now annoyed by her insolence. As the women go back to the factory, Micaëla returns and gives José a letter and a kiss from his mother ("Parle-moi de ma mère!"). He reads that his mother wants him to return home and marry Micaëla, who retreats in shy embarrassment on learning this. Just as José declares that he is ready to heed his mother's wishes, the women stream from the factory in great agitation. Zuniga, the officer of the guard, learns that Carmen has attacked a woman with a knife. When challenged, Carmen answers with mocking defiance ("Tra la la... Coupe-moi, brûle-moi"); Zuniga orders José to tie her hands while he prepares the prison warrant. Left alone with José, Carmen beguiles him with a
seguidilla The seguidilla (; ; plural in both English and Spanish ''seguidillas''; diminutive of ''seguida'', which means "sequence" and is the name of a dance). Accessed May 2008. is an old Castilian folksong and dance form in quick triple time for two peo ...
, in which she sings of a night of dancing and passion with her lover—whoever that may be—in Lillas Pastia's tavern. Confused yet mesmerised, José agrees to free her hands; as she is led away she pushes her escort to the ground and runs off laughing. José is arrested for dereliction of duty.


Act 2

''Lillas Pastia's Inn'' Two months have passed. Carmen and her friends Frasquita and Mercédès are entertaining Zuniga and other officers ("Les tringles des sistres tintaient") in Pastia's inn. Carmen is delighted to learn of José's release from two months' detention. Outside, a chorus and procession announces the arrival of the toreador Escamillo ("Vivat, vivat le Toréro"). Invited inside, he introduces himself with the "
Toreador Song The Toreador Song is the popular name for the aria "" ("I toast you"), from the French opera ''Carmen'', composed by Georges Bizet to a libretto by Henri Meilhac and Ludovic Halévy. It is sung by the bullfighter (French: '' toréador'') Escamil ...
" ("Votre toast, je peux vous le rendre") and sets his sights on Carmen, who brushes him aside. Lillas Pastia hustles the crowds and the soldiers away. When only Carmen, Frasquita and Mercédès remain, smugglers Dancaïre and Remendado arrive and reveal their plans to dispose of some recently acquired contraband ("Nous avons en tête une affaire"). Frasquita and Mercédès are keen to help them, but Carmen refuses, since she wishes to wait for José. After the smugglers leave, José arrives. Carmen treats him to a private exotic dance ("Je vais danser en votre honneur... La la la"), but her song is joined by a distant bugle call from the barracks. When José says he must return to duty, she mocks him, and he answers by showing her the flower that she threw to him in the square ("La fleur que tu m'avais jetée"). Unconvinced, Carmen demands he show his love by leaving with her. José refuses to desert, but as he prepares to depart, Zuniga enters looking for Carmen. He and José fight. Carmen summons her gypsy comrades, who restrain Zuniga. Having attacked a superior officer, José now has no choice but to join Carmen and the smugglers ("Suis-nous à travers la campagne").


Act 3

''A wild spot in the mountains'' Carmen and José enter with the smugglers and their booty ("Écoute, écoute, compagnons"); Carmen has now become bored with José and tells him scornfully that he should go back to his mother. Frasquita and Mercédès amuse themselves by reading their fortunes from the cards; Carmen joins them and finds that the cards are foretelling her death, and José's. The smugglers depart to transport their goods while the women distract the local customs officers. José is left behind on guard duty. Micaëla enters with a guide, seeking José and determined to rescue him from Carmen ("Je dis que rien ne m'épouvante"). On hearing a gunshot she hides in fear; it is José, who has fired at an intruder who proves to be Escamillo. José's pleasure at meeting the bullfighter turns to anger when Escamillo declares his infatuation with Carmen. The pair fight ("Je suis Escamillo, toréro de Grenade"), but are interrupted by the returning smugglers and girls ("Holà, holà José"). As Escamillo leaves he invites everyone to his next bullfight in Seville. Micaëla is discovered; at first, José will not leave with her despite Carmen's mockery, but he agrees to go when told that his mother is dying. He departs, vowing he will return. Escamillo is heard in the distance, singing the toreador's song.


Act 4

''A square in Seville. At the back, the walls of an ancient amphitheatre'' Zuniga, Frasquita and Mercédès are among the crowd awaiting the arrival of the bullfighters ("Les voici! Voici la quadrille!"). Escamillo enters with Carmen, and they express their mutual love ("Si tu m'aimes, Carmen"). As Escamillo goes into the arena, Frasquita and Mercédès warn Carmen that José is nearby, but Carmen is unafraid and willing to speak to him. Alone, she is confronted by the desperate José ("C'est toi!", "C'est moi!"). While he pleads vainly for her to return to him, cheers are heard from the arena. As José makes his last entreaty, Carmen contemptuously throws down the ring he gave her and attempts to enter the arena. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. José kneels and sings "Ah! Carmen! ma Carmen adorée!"; as the crowd exits the arena, José confesses to killing Carmen.


Creation


Writing history

Meilhac and Halévy were a long-standing duo with an established division of labour: Meilhac, who was completely unmusical, wrote the dialogue and Halévy the verses.Dean 1965, pp. 112–113 There is no clear indication of when work began on ''Carmen''. Bizet and the two librettists were all in Paris during 1873 and easily able to meet; thus there is little written record or correspondence relating to the beginning of the collaboration. The libretto was prepared in accordance with the conventions of ''opéra comique'', with dialogue separating musical numbers. It deviates from Mérimée's novella in a number of significant respects. In the original, events are spread over a much longer period of time, and much of the main story is narrated by José from his prison cell, as he awaits execution for Carmen's murder. Micaëla does not feature in Mérimée's version, and the Escamillo character is peripheral—a
picador A ''picador'' (; pl. ''picadores'') is one of the pair of horse-mounted bullfighters in a Spanish-style bullfight that jab the bull with a lance. They perform in the ''tercio de varas'', which is the first of the three stages in a stylized bullf ...
named Lucas who is only briefly Carmen's grand passion. Carmen has a husband called Garcia, whom José kills during a quarrel. In the novella, Carmen and José are presented much less sympathetically than they are in the opera; Bizet's biographer Mina Curtiss comments that Mérimée's Carmen, on stage, would have seemed "an unmitigated and unconvincing monster, had her character not been simplified and deepened".Curtiss, pp. 397–398 With rehearsals due to begin in October 1873, Bizet began composing in or around January of that year, and by the summer had completed the music for the first act and perhaps sketched more. At that point, according to Bizet's biographer
Winton Dean Winton Basil Dean (18 March 1916 – 19 December 2013) was an English musicologist of the 20th century, most famous for his research on the life and works—in particular the operas and oratorios—of George Frideric Handel, as detailed in his boo ...
, "some hitch at the Opéra-Comique intervened", and the project was suspended for a while. One reason for the delay may have been the difficulties in finding a singer for the title role. Another was a split that developed between the joint directors of the theatre,
Camille du Locle Camille du Locle (16 July 18329 October 1903) was a French theatre manager and a librettist. He was born in Orange, France. From 1862 he served as assistant to his father-in-law, Émile Perrin, at the Paris Opéra. From 1870, he was co-director a ...
and
Adolphe de Leuven Adolphe de Leuven (30 September 1802 – 14 April 1884) was a French theatre director and a librettist. Also known as Grenvallet, and Count Adolph Ribbing. He was the illegitimate son of Adolph Ribbing, who was involved in the assassination of G ...
, over the advisability of staging the work. De Leuven had vociferously opposed the entire notion of presenting so risqué a story in what he considered a family theatre and was sure audiences would be frightened away. He was assured by Halévy that the story would be toned down, that Carmen's character would be softened, and offset by Micaëla, described by Halévy as "a very innocent, very chaste young girl". Furthermore, the gypsies would be presented as comic characters, and Carmen's death would be overshadowed at the end by "triumphal processions, ballets and joyous fanfares". De Leuven reluctantly agreed, but his continuing hostility towards the project led to his resignation from the theatre early in 1874. After the various delays, Bizet appears to have resumed work on ''Carmen'' early in 1874. He completed the draft of the composition—1,200 pages of music—in the summer, which he spent at the artists' colony at
Bougival Bougival () is a suburban commune in the Yvelines department in the Île-de-France region in north-central France. It is located west from the centre of Paris, on the left bank of the River Seine, on the departmental border with Hauts-de-Seine. I ...
, just outside Paris. He was pleased with the result, informing a friend: "I have written a work that is all clarity and vivacity, full of colour and melody." During the period of rehearsals, which began in October, Bizet repeatedly altered the music—sometimes at the request of the orchestra who found some of it impossible to perform,Dean 1980, pp. 759–761 sometimes to meet the demands of individual singers, and otherwise in response to the demands of the theatre's management. The vocal score that Bizet published in March 1875 shows significant changes from the version of the score he sold the publishers, , in January 1875; the conducting score used at the premiere differs from each of these documents. There is no definitive edition, and there are differences among musicologists about which version represents the composer's true intentions. Bizet also changed the libretto, reordering sequences and imposing his own verses where he felt the librettists had strayed too far from the character of Mérimée's original. Among other changes, he provided new words for Carmen's "Habanera",McClary, pp. 25–26 and rewrote the text of Carmen's solo in the act 3 card scene. He also provided a new opening line for the "Seguidilla" in act 1.Dean 1965, pp. 214–217


Characterisation

Most of the characters in ''Carmen''—the soldiers, the smugglers, the Gypsy women and the secondary leads Micaëla and Escamillo—are reasonably familiar types within the ''opéra comique'' tradition, although drawing them from proletarian life was unusual. The two principals, José and Carmen, lie outside the genre. While each is presented quite differently from Mérimée's portrayals of a murderous brigand and a treacherous, amoral schemer, even in their relatively sanitised forms neither corresponds to the norms of ''opéra comique''. They are more akin to the ''
verismo In opera, ''verismo'' (, from , meaning "true") was a post-Romantic operatic tradition associated with Italian composers such as Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano, Francesco Cilea and Giacomo Puccini. ''Verismo'' as an ...
'' style that would find fuller expression in the works of
Puccini Giacomo Puccini (Lucca, 22 December 1858Bruxelles, 29 November 1924) was an Italian composer known primarily for his operas. Regarded as the greatest and most successful proponent of Italian opera after Verdi, he was descended from a long lin ...
. Dean considers that José is the central figure of the opera: "It is his fate rather than Carmen's that interests us."Dean 1965, pp. 221–224 The music characterises his gradual decline, act by act, from honest soldier to deserter, vagabond and finally murderer. In act 1 he is a simple countryman aligned musically with Micaëla; in act 2 he evinces a greater toughness, the result of his experiences as a prisoner, but it is clear that by the end of the act his infatuation with Carmen has driven his emotions beyond control. Dean describes him in act 3 as a trapped animal who refuses to leave his cage even when the door is opened for him, ravaged by a mix of conscience, jealousy and despair. In the final act his music assumes a grimness and purposefulness that reflects his new fatalism: "He will make one more appeal; if Carmen refuses, he knows what to do." Carmen herself, says Dean, is a new type of operatic heroine representing a new kind of love, not the innocent kind associated with the "spotless soprano" school, but something altogether more vital and dangerous. Her capriciousness, fearlessness and love of freedom are all musically represented: "She is redeemed from any suspicion of vulgarity by her qualities of courage and fatalism so vividly realised in the music".Dean 1965, pp. 224–225 Curtiss suggests that Carmen's character, spiritually and musically, may be a realisation of the composer's own unconscious longing for a freedom denied to him by his stifling marriage.
Harold C. Schonberg Harold Charles Schonberg (29 November 1915 – 26 July 2003) was an American music critic and author. He is best known for his contributions in ''The New York Times'', where he was List of chief music critics, chief music critic from 1960 to 198 ...
likens Carmen to "a female Don Giovanni. She would rather die than be false to herself." The dramatic personality of the character, and the range of moods she is required to express, call for exceptional acting and singing talents. This has deterred some of opera's most distinguished exponents;
Maria Callas Maria Callas . (born Sophie Cecilia Kalos; December 2, 1923 – September 16, 1977) was an American-born Greek soprano who was one of the most renowned and influential opera singers of the 20th century. Many critics praised her ''bel cant ...
, though she recorded the part, never performed it on stage. The musicologist
Hugh Macdonald Hugh John Macdonald (born 31 January 1940 in Newbury, Berkshire) is an English musicologist chiefly known for his work within the music of the 19th century, especially in France. He has been general editor of the ''Hector Berlioz: New Edition of ...
observes that "French opera never produced another ''femme'' as ''fatale'' as Carmen", though she may have influenced some of
Massenet Jules Émile Frédéric Massenet (; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are ''Manon'' (1884) and ''Werther'' ...
's heroines. Macdonald suggests that outside the French repertoire,
Richard Strauss Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wag ...
's Salome and
Alban Berg Alban Maria Johannes Berg ( , ; 9 February 1885 – 24 December 1935) was an Austrian composer of the Second Viennese School. His compositional style combined Romantic lyricism with the twelve-tone technique. Although he left a relatively sma ...
's Lulu "may be seen as distant degenerate descendants of Bizet's temptress". Bizet was reportedly contemptuous of the music he wrote for Escamillo: "Well, they asked for ordure, and they've got it", he is said to have remarked about the toreador's song—but, as Dean comments, "the triteness lies in the character, not in the music". Micaëla's music has been criticised for its "Gounodesque" elements, although Dean maintains that her music has greater vitality than that of any of
Gounod Charles-François Gounod (; ; 17 June 181818 October 1893), usually known as Charles Gounod, was a French composer. He wrote twelve operas, of which the most popular has always been ''Faust (opera), Faust'' (1859); his ''Roméo et Juliette'' (18 ...
's own heroines.


Performance history


Assembling the cast

The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured
Zulma Bouffar Zulma Madeleine Boufflar, known as Zulma Bouffar, (24 May 1841 – 20 January 1909), was a French actress and soprano singer, associated with the opéra-bouffe of Paris in the second half of the 19th century who enjoyed a successful career a ...
, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to
Marie Roze Marie Roze (born Marie Hippolyte Ponsin; 2 March 1846 in Paris – 2 June 1926 in Paris), was a French operatic soprano. Early years She was born in Paris. At the age of 12, she was sent from France to be educated in England for two years. She ...
, well known for previous triumphs at the Opéra-Comique, the Opéra and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to
Célestine Galli-Marié Célestine Galli-Marié (15 March 1837 – 22 September 1905) was a French mezzo-soprano who is most famous for creating the title role in the opera ''Carmen''.Wright, L. A. "Galli-Marié". In: ''The New Grove Dictionary of Opera.'' Macmillan ...
, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal. The leading tenor part of Don José was given to
Paul Lhérie Paul Lhérie (Lévy), (born 8 October 1844 in Paris; died 17 October 1937 in Paris) was a French tenor, then baritone, and later a vocal teacher. He was most famous for creating the role of Don José in Bizet's '' Carmen''. Life and career Afte ...
, a rising star of the Opéra-Comique who had recently appeared in works by
Massenet Jules Émile Frédéric Massenet (; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are ''Manon'' (1884) and ''Werther'' ...
and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the
Covent Garden Covent Garden is a district in London, on the eastern fringes of the West End, between St Martin's Lane and Drury Lane. It is associated with the former fruit-and-vegetable market in the central square, now a popular shopping and tourist si ...
premiere of ''Les pêcheurs de perles''.
Jacques Bouhy Jacques-Joseph-André Bouhy (18 June 1848 – 29 January 1929) was a Belgian baritone, most famous for being the first to sing the "Toreador Song" in the role of Escamillo in the opera ''Carmen''. Bouhy was born in Pepinster. After studying at th ...
, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's ''
Faust Faust is the protagonist of a classic German legend based on the historical Johann Georg Faust ( 1480–1540). The erudite Faust is highly successful yet dissatisfied with his life, which leads him to make a pact with the Devil at a crossroads ...
'' and as
Mozart Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period (music), Classical period. Despite his short life, his ra ...
's Figaro.
Marguerite Chapuy Marguerite Chapuy (21 July 1852, Bordeaux – 23 September 1936, Dijon) was a French operatic soprano and the daughter of a former dancer at the Opéra. Her short professional career was concentrated on Paris but included appearances in London; ...
, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's
Theatre Royal, Drury Lane The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Dr ...
; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return.


Premiere and initial run

Because rehearsals did not start until October 1874 and lasted longer than anticipated, the premiere was delayed. The final rehearsals went well, and in a generally optimistic mood the first night was fixed for 3 March 1875, the day on which, coincidentally, Bizet's appointment as a Chevalier of the
Legion of Honour The National Order of the Legion of Honour (french: Ordre national de la Légion d'honneur), formerly the Royal Order of the Legion of Honour ('), is the highest French order of merit, both military and civil. Established in 1802 by Napoleon, ...
was formally announced. The premiere, which was conducted by
Adolphe Deloffre Louis Michel Adolphe Deloffre (28 July 1817 – 8 January 1876) was a French violinist and conductor active in London and Paris, who conducted several important operatic premieres in the latter city, particularly by Charles Gounod and Georges Bize ...
, was attended by many of Paris's leading musical figures, including Massenet, Offenbach, Delibes and Gounod; during the performance the last-named was overheard complaining bitterly that Bizet had stolen the music of Micaëla's act 3 aria from him: "That melody is mine!"Curtiss, p. 391 Halévy recorded his impressions of the premiere in a letter to a friend; the first act was evidently well received, with applause for the main numbers and numerous curtain calls. The first part of act 2 also went well, but after the toreador's song there was, Halévy noted, "coldness". In act 3 only Micaëla's aria earned applause as the audience became increasingly disconcerted. The final act was "glacial from first to last", and Bizet was left "only with the consolations of a few friends".Dean 1965, pp. 114–115 The critic
Ernest Newman Ernest Newman (30 November 1868 – 7 July 1959) was an English music critic and musicologist. ''Grove's Dictionary of Music and Musicians'' describes him as "the most celebrated British music critic in the first half of the 20th century." His ...
wrote later that the sentimentalist Opéra-Comique audience was "shocked by the drastic realism of the action" and by the low standing and defective morality of most of the characters.Newman, p. 248 According to the composer
Benjamin Godard Benjamin Louis Paul Godard (18 August 184910 January 1895) was a French violinist and Romantic-era composer of Jewish extraction, best known for his opera ''Jocelyn''. Godard composed eight operas, five symphonies, two piano and two violin concer ...
, Bizet retorted, in response to a compliment, "Don't you see that all these bourgeois have not understood a wretched word of the work I have written for them?" In a different vein, shortly after the work had concluded, Massenet sent Bizet a congratulatory note: "How happy you must be at this time—it's a great success!" The general tone of the next day's press reviews ranged from disappointment to outrage. The more conservative critics complained about "Wagnerism" and the subordination of the voice to the noise of the orchestra.Dean 1965, p. 117 There was consternation that the heroine was an amoral seductress rather than a woman of virtue; Galli-Marié's interpretation of the role was described by one critic as "the very incarnation of vice". Others compared the work unfavourably with the traditional Opéra-Comique repertoire of Auber and Boieldieu. Léon Escudier in ''L'Art Musical'' called ''Carmen''s music "dull and obscure... the ear grows weary of waiting for the cadence that never comes." It seemed that Bizet had generally failed to fulfill expectations, both of those who (given Halévy's and Meilhac's past associations) had expected something in the Offenbach mould, and of critics such as Adolphe Jullien who had anticipated a
Wagnerian Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most op ...
music drama. Among the few supportive critics was the poet
Théodore de Banville Théodore Faullain de Banville (14 March 1823 – 13 March 1891) was a French poet and writer. His work was influential on the Symbolist movement in French literature in the late 19th century. Biography Banville was born in Moulins in Allier, ...
; writing in ''Le National'', he applauded Bizet for presenting a drama with real men and women instead of the usual Opéra-Comique "puppets". In its initial run at the Opéra-Comique, ''Carmen'' provoked little public enthusiasm; it shared the theatre for a while with
Verdi Giuseppe Fortunino Francesco Verdi (; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto to a provincial family of moderate means, receiving a musical education with the h ...
's much more popular ''Requiem''. ''Carmen'' was often performed to half-empty houses, even when the management gave away large numbers of tickets. Early on 3 June, the day after the opera's 33rd performance, Bizet died suddenly of heart disease, at the age of 36. It was his wedding anniversary. That night's performance was cancelled; the tragic circumstances brought a temporary increase in public interest during the brief period before the season ended. Du Locle brought ''Carmen'' back in November 1875, with the original cast, and it ran for a further 12 performances until 15 February 1876 to give a year's total for the original production of 48.Curtiss, pp. 427–428 Among those who attended one of these later performances was
Tchaikovsky Pyotr Ilyich Tchaikovsky , group=n ( ; 7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally. He wrote some of the most popu ...
, who wrote to his benefactor,
Nadezhda von Meck Nadezhda Filaretovna von Meck (russian: Надежда Филаретовна фон Мекк; 13 January 1894) was a Russian businesswoman who became an influential patron of the arts, especially music. She is best known today for her artistic ...
: "''Carmen'' is a masterpiece in every sense of the word... one of those rare creations which expresses the efforts of a whole musical epoch." After the final performance, ''Carmen'' was not seen in Paris again until 1883.


Early revivals

Shortly before his death Bizet signed a contract for a production of ''Carmen'' by the
Vienna Court Opera The Vienna State Opera (, ) is an opera house and opera company based in Vienna, Austria. The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Si ...
. For this version, first staged on 23 October 1875, Bizet's friend
Ernest Guiraud Ernest is a given name derived from Germanic word ''ernst'', meaning "serious". Notable people and fictional characters with the name include: People *Archduke Ernest of Austria (1553–1595), son of Maximilian II, Holy Roman Emperor * Ernest, ...
replaced the original dialogue with recitatives, to create a "
grand opera Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects, normally with plots based on o ...
" format. Guiraud also reorchestrated music from Bizet's ''L'Arlésienne suite'' to provide a spectacular ballet for ''Carmen''s second act. Shortly before the initial Vienna performance, the Court Opera's director
Franz von Jauner Franz Ritter von Jauner (14 November 1831, in Vienna – 23 February 1900, in Vienna) was an Austrian theatre director and opera intendant. He was the subject of a 1940 biographical film ''Operetta'' in which he was played by Willi Forst ...
decided to use parts of the original dialogue along with some of Guiraud's recitatives; this hybrid and the full recitative version became the norms for productions of the opera outside France for most of the next century. Despite its deviations from Bizet's original format, and some critical reservations, the 1875 Vienna production was a great success with the city's public. It also won praise from both Wagner and
Brahms Johannes Brahms (; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid-Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with ...
. The latter reportedly saw the opera twenty times, and said he would have "gone to the ends of the earth to embrace Bizet".Curtiss, p. 426 The Viennese triumph began the opera's rapid ascent towards worldwide fame. In February 1876 it began a run in Brussels at
La Monnaie The Royal Theatre of La Monnaie (french: Théâtre Royal de la Monnaie, italic=no, ; nl, Koninklijke Muntschouwburg, italic=no; both translating as the "Royal Theatre of the Mint") is an opera house in central Brussels, Belgium. The National O ...
; it returned there the following year, with Galli-Marié in the title role, and thereafter became a permanent fixture in the Brussels repertory. On 17 June 1878 ''Carmen'' was produced in London, at
Her Majesty's Theatre Her Majesty's Theatre is a West End theatre situated on Haymarket, London, Haymarket in the City of Westminster, London. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, ...
, where
Minnie Hauk Minnie Hauk in a cabinet card photograph, ca. 1880 Amalia Mignon Hauck "Minnie" Hauk (November 16, 1851 – February 6, 1929) was an American operatic first dramatic soprano than mezzo-soprano. Early life She was born in New York City on Novemb ...
began her long association with the part of Carmen. A parallel London production at Covent Garden, with
Adelina Patti Adelina Patti (19 February 184327 September 1919) was an Italian 19th-century opera singer, earning huge fees at the height of her career in the music capitals of Europe and America. She first sang in public as a child in 1851, and gave her la ...
, was cancelled when Patti withdrew. The successful Her Majesty's production, sung in Italian, had an equally enthusiastic reception in
Dublin Dublin (; , or ) is the capital and largest city of Republic of Ireland, Ireland. On a bay at the mouth of the River Liffey, it is in the Provinces of Ireland, province of Leinster, bordered on the south by the Dublin Mountains, a part of th ...
. On 23 October 1878 the opera received its American premiere, at the New York Academy of Music, and in the same year was introduced to
Saint Petersburg Saint Petersburg ( rus, links=no, Санкт-Петербург, a=Ru-Sankt Peterburg Leningrad Petrograd Piter.ogg, r=Sankt-Peterburg, p=ˈsankt pʲɪtʲɪrˈburk), formerly known as Petrograd (1914–1924) and later Leningrad (1924–1991), i ...
. In the following five years performances were given in numerous American and European cities. The opera found particular favour in Germany, where the Chancellor,
Otto von Bismarck Otto, Prince of Bismarck, Count of Bismarck-Schönhausen, Duke of Lauenburg (, ; 1 April 1815 – 30 July 1898), born Otto Eduard Leopold von Bismarck, was a conservative German statesman and diplomat. From his origins in the upper class of J ...
, apparently saw it on 27 different occasions and where
Friedrich Nietzsche Friedrich Wilhelm Nietzsche (; or ; 15 October 1844 – 25 August 1900) was a German philosopher, prose poet, cultural critic, philologist, and composer whose work has exerted a profound influence on contemporary philosophy. He began his ...
opined that he "became a better man when Bizet speaks to me".Curtiss, pp. 429–431 ''Carmen'' was also acclaimed in numerous French provincial cities including
Marseille Marseille ( , , ; also spelled in English as Marseilles; oc, Marselha ) is the prefecture of the French department of Bouches-du-Rhône and capital of the Provence-Alpes-Côte d'Azur region. Situated in the camargue region of southern Franc ...
,
Lyon Lyon,, ; Occitan: ''Lion'', hist. ''Lionés'' also spelled in English as Lyons, is the third-largest city and second-largest metropolitan area of France. It is located at the confluence of the rivers Rhône and Saône, to the northwest of t ...
and, in 1881,
Dieppe Dieppe (; Norman: ''Dgieppe'') is a coastal commune in the Seine-Maritime department in the Normandy region of northern France. Dieppe is a seaport on the English Channel at the mouth of the river Arques. A regular ferry service runs to Newha ...
, where Galli-Marié returned to the role. In August 1881 the singer wrote to Bizet's widow to report that ''Carmen''s Spanish premiere, in Barcelona, had been "another great success". But Carvalho, who had assumed the management of the Opéra-Comique, thought the work immoral and refused to reinstate it. Meilhac and Hálevy were more prepared to countenance a revival, provided that Galli-Marié had no part in it; they blamed her interpretation for the relative failure of the opening run. In April 1883 Carvalho finally revived ''Carmen'' at the Opéra-Comique, with
Adèle Isaac Adèle Isaac (8 January 1854 – 22 October 1915) was a French operatic soprano, active in Paris in the late 19th century. Isaac was born in Calais. After studying with Gilbert Duprez, her professional debut was in 1870 in Victor Massé's ...
featuring in an under-rehearsed production that removed some of the controversial aspects of the original. Carvalho was roundly condemned by the critics for offering a travesty of what had come to be regarded as a masterpiece of French opera; nevertheless, this version was acclaimed by the public and played to full houses. In October Carvalho yielded to pressure and revised the production; he brought back Galli-Marié, and restored the score and libretto to their 1875 forms.


Worldwide success

On 9 January 1884, ''Carmen'' was given its first New York
Metropolitan Opera The Metropolitan Opera (commonly known as the Met) is an American opera company based in New York City, resident at the Metropolitan Opera House at Lincoln Center, currently situated on the Upper West Side of Manhattan. The company is operat ...
performance, to a mixed critical reception. ''
The New York Times ''The New York Times'' (''the Times'', ''NYT'', or the Gray Lady) is a daily newspaper based in New York City with a worldwide readership reported in 2020 to comprise a declining 840,000 paid print subscribers, and a growing 6 million paid ...
'' welcomed Bizet's "pretty and effective work", but compared Zelia Trebelli's interpretation of the title role unfavourably with that of Minnie Hauk. Thereafter ''Carmen'' was quickly incorporated into the Met's regular repertory. In February 1906
Enrico Caruso Enrico Caruso (, , ; 25 February 1873 – 2 August 1921) was an Italian operatic first lyrical tenor then dramatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles (74) ...
sang José at the Met for the first time; he continued to perform in this role until 1919, two years before his death.) On 17 April 1906, on tour with the Met, he sang the role at the Grand Opera House in
San Francisco San Francisco (; Spanish language, Spanish for "Francis of Assisi, Saint Francis"), officially the City and County of San Francisco, is the commercial, financial, and cultural center of Northern California. The city proper is the List of Ca ...
. Afterwards he sat up until 3 am reading the reviews in the early editions of the following day's papers. Two hours later he was awakened by the first violent shocks of the
1906 San Francisco earthquake At 05:12 Pacific Standard Time on Wednesday, April 18, 1906, the coast of Northern California was struck by a major earthquake with an estimated moment magnitude of 7.9 and a maximum Mercalli intensity of XI (''Extreme''). High-intensity sha ...
, after which he and his fellow performers made a hurried escape from the Palace Hotel. The popularity of ''Carmen'' continued through succeeding generations of American opera-goers; by the beginning of 2011 the Met alone had performed it almost a thousand times. It enjoyed similar success in other American cities and in all parts of the world, in many different languages.Curtiss, pp. 435–436 Carmen's habanera from act 1, and the toreador's song "
Votre toast The Toreador Song is the popular name for the aria "" ("I toast you"), from the French opera ''Carmen'', composed by Georges Bizet to a libretto by Henri Meilhac and Ludovic Halévy. It is sung by the bullfighter (French: '' toréador'') Escamill ...
" from act 2, are among the most popular and best-known of all operatic arias, the latter "a splendid piece of swagger" according to Newman, "against which the voices and the eyebrows of purists have long been raised in vain". Most of the productions outside France followed the example created in Vienna and incorporated lavish ballet interludes and other spectacles, a practice which
Mahler Gustav Mahler (; 7 July 1860 – 18 May 1911) was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism ...
abandoned in Vienna when he revived the work there in 1900. In 1919, Bizet's aged contemporary
Camille Saint-Saëns Charles-Camille Saint-Saëns (; 9 October 183516 December 1921) was a French composer, organist, conductor and pianist of the Romantic music, Romantic era. His best-known works include Introduction and Rondo Capriccioso (1863), the Piano C ...
was still complaining about the "strange idea" of adding a ballet, which he considered "a hideous blemish in that masterpiece", and he wondered why Bizet's wife had permitted it. At the Opéra-Comique, after its 1883 revival, ''Carmen'' was always presented in the dialogue version with minimal musical embellishments. By 1888, the year of the 50th anniversary of Bizet's birth, the opera had been performed there 330 times; by 1938, his centenary year, the total of performances at the theatre had reached 2,271. However, outside France the practice of using recitatives remained the norm for many years; the
Carl Rosa Opera Company The Carl Rosa Opera Company was founded in 1873 by Carl Rosa, a German-born musical impresario, and his wife, British operatic soprano Euphrosyne Parepa-Rosa to present opera in English in London and the British provinces. The company premiere ...
's 1947 London production, and
Walter Felsenstein Walter Felsenstein (30 May 1901 – 8 October 1975) was an Austrian theater and opera director. He was one of the most important exponents of textual accuracy, productions in which dramatic and musical values were exquisitely researched and ba ...
's 1949 staging at the Berlin
Komische Oper The Komische Oper Berlin is a German opera company based in Berlin. The company produces opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal tra ...
, are among the first known instances in which the dialogue version was used other than in France.Dean 1965, pp. 218–221 Neither of these innovations led to much change in practice; a similar experiment was tried at Covent Garden in 1953 but hurriedly withdrawn, and the first American production with spoken dialogue, in Colorado in 1953, met with a similar fate. Dean has commented on the dramatic distortions that arise from the suppression of the dialogue; the effect, he says, is that the action moves forward "in a series of jerks, rather instead of by smooth transition", and that most of the minor characters are substantially diminished. Only late in the 20th century did dialogue versions become common in opera houses outside France, but there is still no universally recognised full score.
Fritz Oeser Fritz Oeser (May 18, 1911, Gera – February 23, 1982, Kassel) was a musicologist, most famous for preparing restored versions of Bizet's '' Carmen'' in 1964 and Offenbach's ''Les contes d'Hoffmann'' in 1976. The former was heavily criticized ...
's 1964 edition is an attempt to fill this gap, but in Dean's view is unsatisfactory. Oeser reintroduces material removed by Bizet during the first rehearsals, and ignores many of the late changes and improvements that the composer made immediately before the first performance; he thus, according to
Susan McClary Susan Kaye McClary (born October 2, 1946) is an American musicologist associated with " new musicology". Noted for her work combining musicology with feminist music criticism, McClary is professor of musicology at Case Western Reserve University ...
, "inadvertently preserves as definitive an early draft of the opera". In the early 21st century new editions were prepared by Robert Didion and Richard Langham-Smith, published by Schott and Peters respectively.Wright, pp. xviii–xxi Each departs significantly from Bizet's vocal score of March 1875, published during his lifetime after he had personally corrected the proofs; Dean believes this vocal score should be the basis of any standard edition. Lesley Wright, a contemporary Bizet scholar, remarks that, unlike his compatriots
Rameau Jean-Philippe Rameau (; – ) was a French composer and music theorist. Regarded as one of the most important French composers and music theorists of the 18th century, he replaced Jean-Baptiste Lully as the dominant composer of French opera an ...
and
Debussy (Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the ...
, Bizet has not been accorded a critical edition of his principal works; should this transpire, she says, "we might expect yet another scholar to attempt to refine the details of this vibrant score which has so fascinated the public and performers for more than a century." Meanwhile, ''Carmen''s popularity endures; according to Macdonald: "The memorability of Bizet's tunes will keep the music of Carmen alive in perpetuity," and its status as a popular classic is unchallenged by any other French opera.


Music

Hervé Lacombe Hervé Lacombe is a French musicologist, a professor at the University Rennes 2 since 2002 and a specialist of music of France. He is the author of several works on the opera and two biographies, one of Georges Bizet and the other of Francis P ...
, in his survey of 19th-century French opera, contends that ''Carmen'' is one of the few works from that large repertory to have stood the test of time. While he places the opera firmly within the long ''opéra comique'' tradition, Macdonald considers that it transcends the genre and that its immortality is assured by "the combination in abundance of striking melody, deft harmony and perfectly judged orchestration". Dean sees Bizet's principal achievement in the demonstration of the main actions of the opera in the music, rather than in the dialogue, writing that "Few artists have expressed so vividly the torments inflicted by sexual passions and jealousy." Dean places Bizet's realism in a different category from the ''verismo'' of Puccini and others; he likens the composer to Mozart and Verdi in his ability to engage his audiences with the emotions and sufferings of his characters. Bizet, who had never visited Spain, sought out appropriate ethnic material to provide an authentic Spanish flavour to his music. Carmen's habanera is based on an idiomatic song, "El Arreglito", by the Spanish composer
Sebastián Yradier Saint Sebastian (in Latin: ''Sebastianus''; Narbo, Gallia Narbonensis, Roman Empire c. AD 255 – Rome, Italia, Roman Empire c. AD 288) was an early Christian saint and martyr. According to traditional belief, he was killed during the Diocleti ...
(1809–65). Bizet had taken this to be a genuine folk melody; when he learned its recent origin he added a note to the vocal score, crediting Yradier. He used a genuine folksong as the source of Carmen's defiant "Coupe-moi, brûle-moi" while other parts of the score, notably the "Seguidilla", utilise the rhythms and instrumentation associated with
flamenco Flamenco (), in its strictest sense, is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and ...
music. However, Dean insists that " is is a French, not a Spanish opera"; the "foreign bodies", while they undoubtedly contribute to the unique atmosphere of the opera, form only a small ingredient of the complete music. The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the
Toreador Song The Toreador Song is the popular name for the aria "" ("I toast you"), from the French opera ''Carmen'', composed by Georges Bizet to a libretto by Henri Meilhac and Ludovic Halévy. It is sung by the bullfighter (French: '' toréador'') Escamil ...
from act 2, and the motif that, in two slightly differing forms, represents both Carmen herself and the fate she personifies. This motif, played on
clarinet The clarinet is a musical instrument in the woodwind family. The instrument has a nearly cylindrical bore and a flared bell, and uses a single reed to produce sound. Clarinets comprise a family of instruments of differing sizes and pitches ...
,
bassoon The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuo ...
,
cornet The cornet (, ) is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B, though there is also a sopr ...
and
cello The cello ( ; plural ''celli'' or ''cellos'') or violoncello ( ; ) is a Bow (music), bowed (sometimes pizzicato, plucked and occasionally col legno, hit) string instrument of the violin family. Its four strings are usually intonation (music), t ...
s over
tremolo In music, ''tremolo'' (), or ''tremolando'' (), is a trembling effect. There are two types of tremolo. The first is a rapid reiteration: * Of a single Musical note, note, particularly used on String instrument#Bowing, bowed string instrument ...
strings, concludes the prelude with an abrupt crescendo. When the curtain rises a light and sunny atmosphere is soon established, and pervades the opening scenes. The mock solemnities of the changing of the guard, and the flirtatious exchanges between the townsfolk and the factory girls, precede a mood change when a brief phrase from the fate motif announces Carmen's entrance. After her provocative habanera, with its persistent insidious rhythm and changes of key, the fate motif sounds in full when Carmen throws her flower to José before departing.Azaola, pp. 11–14 This action elicits from José a passionate
A major A major (or the key of A) is a major scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor. The key of A major is the only k ...
solo which Dean suggests is the turning-point in his musical characterisation. The softer vein returns briefly, as Micaëla reappears and joins with José in a duet to a warm clarinet and strings accompaniment. The tranquillity is shattered by the women's noisy quarrel, Carmen's dramatic re-entry and her defiant interaction with Zuniga. After her beguiling "Seguidilla" provokes José to an exasperated high A sharp shout, Carmen's escape is preceded by the brief but disconcerting reprise of a fragment from the habanera. Bizet revised this finale several times to increase its dramatic effect. Act 2 begins with a short prelude, based on a melody that José will sing offstage before his next entry. A festive scene in the inn precedes Escamillo's tumultuous entrance, in which
brass Brass is an alloy of copper (Cu) and zinc (Zn), in proportions which can be varied to achieve different mechanical, electrical, and chemical properties. It is a substitutional alloy: atoms of the two constituents may replace each other with ...
and
percussion A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument. Exc ...
provide prominent backing while the crowd sings along.Azaola, pp. 16–18 The quintet that follows is described by Newman as "of incomparable verve and musical wit". José's appearance precipitates a long mutual wooing scene; Carmen sings, dances and plays the
castanets Castanets, also known as ''clackers'' or ''palillos'', are a percussion instrument (idiophone), used in Spanish, Kalo, Moorish, Ottoman, Italian, Sephardic, Swiss, and Portuguese music. In ancient Greece and ancient Rome there was a similar ...
; a distant cornet-call summoning José to duty is blended with Carmen's melody so as to be barely discernible. A muted reference to the fate motif on an
English horn The cor anglais (, or original ; plural: ''cors anglais''), or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, making it essentially an alto ...
leads to José's "Flower Song", a flowing continuous melody that ends ''pianissimo'' on a sustained high B-flat. José's insistence that, despite Carmen's blandishments, he must return to duty leads to a quarrel; the arrival of Zuniga, the consequent fight and José's unavoidable ensnarement into the lawless life culminates musically in the triumphant hymn to freedom that closes the act. The prelude to act 3 was originally intended for Bizet's ''L'Arlésienne'' score. Newman describes it as "an exquisite miniature, with much dialoguing and intertwining between the woodwind instruments". As the action unfolds, the tension between Carmen and José is evident in the music. In the card scene, the lively duet for Frasquita and Mercédès turns ominous when Carmen intervenes; the fate motif underlines her premonition of death. Micaëla's aria, after her entry in search of José, is a conventional piece, though of deep feeling, preceded and concluded by horn calls.Azaola, pp. 19–20 The middle part of the act is occupied by Escamillo and José, now acknowledged as rivals for Carmen's favour. The music reflects their contrasting attitudes: Escamillo remains, says Newman, "invincibly polite and ironic", while José is sullen and aggressive. When Micaëla pleads with José to go with her to his mother, the harshness of Carmen's music reveals her most unsympathetic side. As José departs, vowing to return, the fate theme is heard briefly in the woodwind. The confident, off-stage sound of the departing Escamillo singing the toreador's refrain provides a distinct contrast to José's increasing desperation. The final act is prefaced with a lively orchestral piece derived from Manuel García's short operetta ''El Criado Fingido''. After the opening crowd scene, the bullfighters' march is led by the children's chorus; the crowd hails Escamillo before his short love scene with Carmen. The long finale, in which José makes his last pleas to Carmen and is decisively rejected, is punctuated at critical moments by enthusiastic off-stage shouts from the bullfighting arena. As José kills Carmen, the chorus sing the refrain of the Toreador Song off-stage; the fate motif, which has been suggestively present at various points during the act, is heard
fortissimo In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer dependi ...
, together with a brief reference to Carmen's card scene music. Jose's last words of love and despair are followed by a final long chord, on which the curtain falls without further musical or vocal comment.


Musical numbers

Numbers are from the vocal score (English version) printed by
G. Schirmer Inc. G. Schirmer, Inc. is an American classical music publishing company based in New York City, founded in 1861. The oldest active music publisher in the United States, Schirmer publishes sheet music for sale and rental, and represents some well-know ...
, New York, 1958 from Guiraud's 1875 arrangement. Act 1 # Prelude (orchestra) # Sur la place chacun passe (Chorus of soldiers, Moralès, Micaëla) # Avec la garde montante (Chorus of urchins, Zuniga) # La cloche a sonné (Chorus of citizens, soldiers, cigarette girls) # Habanera:
L'amour est un oiseau rebelle Habanera (" usic or danceof Havana") is the popular name for "" (; "Love is a rebellious bird"), an aria from Georges Bizet's 1875 opéra comique '' Carmen''. It is the entrance aria of the title character, a mezzo-soprano role, in scene 5 o ...
(Carmen, chorus as above) # Carmen! Sur tes pas nous pressons! (Chorus of citizens and cigarette girls) # Parle-moi de ma mère (José, Micaëla) # Que se passe-t-il là-bas? Au secours! Au secours! (Chorus of cigarette girls, soldiers, Zuniga) # Tra-la-la ... Coupe-moi, brûle-moi (Carmen, Zuniga, cigarette girls, José) #
Seguidilla The seguidilla (; ; plural in both English and Spanish ''seguidillas''; diminutive of ''seguida'', which means "sequence" and is the name of a dance). Accessed May 2008. is an old Castilian folksong and dance form in quick triple time for two peo ...
: Près des remparts de Séville (Carmen, José) # Finale: Voici l'ordre; partez (Zuniga, Carmen) ::Entr'acte (orchestra) Act 2 ::Entr'acte (orchestra) Act 3 ::Entr'acte (orchestra) Act 4


Recordings

''Carmen'' has been the subject of many recordings, beginning with early wax cylinder recordings of excerpts in the 1890s, a nearly complete performance in German from 1908 with
Emmy Destinn Emmy Destinn ( (); 26 February 1878 – 28 January 1930) was a Czech operatic soprano with a strong and soaring lyric-dramatic voice. She had a career both in Europe and at the New York Metropolitan Opera. Biography Destinn was born Emíl ...
in the title role, and a complete 1911 Opéra-Comique recording in French. Since then, many of the leading opera houses and artistes have recorded the work, in both studio and live performances. Over the years many versions have been commended and reissued. From the mid-1990s numerous video recordings have become available. These include
David McVicar Sir David McVicar (born 1966) is a Scottish opera and theatre director. Biography McVicar was born in Glasgow in 1966. He studied as an actor at the Royal Scottish Academy of Music and Drama, graduating in 1989. In 2007, ''The Independent'' ra ...
's
Glyndebourne Glyndebourne () is an English country house, the site of an opera house that, since 1934, has been the venue for the annual Glyndebourne Festival Opera. The house, located near Lewes in East Sussex, England, is thought to be about six hundr ...
production of 2002, and the Royal Opera productions of 2007 and 2010, each designed by
Francesca Zambello Francesca Zambello (born August 24, 1956) is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera. Early life and education Born in New York City, Zambello lived in Europe when ...
.


Adaptations

In 1883, the Spanish violinist and composer
Pablo de Sarasate Pablo Martín Melitón de Sarasate y Navascués (; 10 March 1844 – 20 September 1908), commonly known as Pablo de Sarasate, was a Spanish (Navarrese) violin virtuoso, composer and conductor of the Romantic period. His best known works include ...
(1844–1908) wrote a ''Carmen Fantasy'' for violin, described as "ingenious and technically difficult".
Ferruccio Busoni Ferruccio Busoni (1 April 1866 – 27 July 1924) was an Italian composer, pianist, conductor, editor, writer, and teacher. His international career and reputation led him to work closely with many of the leading musicians, artists and literary ...
's 1920 piece, Piano Sonatina No. 6 (Fantasia da camera super Carmen), is based on themes from ''Carmen''. In 1967, the Russian composer
Rodion Shchedrin Rodion Konstantinovich Shchedrin ( rus, Родион Константинович Щедрин, , rədʲɪˈon kənstɐnʲˈtʲinəvʲɪtɕ ɕːɪˈdrʲin; born 16 December 1932) is a Soviet and Russian composer and pianist, winner of USSR State ...
adapted parts of the ''Carmen'' music into a ballet, the '' Carmen Suite'', written for his wife
Maya Plisetskaya Maya Mikhailovna Plisetskaya (russian: link=no, Майя Михайловна Плисецкая; 20 November 1925 – 2 May 2015) was a Soviet and Russian ballet dancer, choreographer, ballet director, and actress. In post-Soviet times, she he ...
, then the
Bolshoi Ballet The Bolshoi Ballet is an internationally renowned classical ballet company based at the Bolshoi Theatre in Moscow, Russia. Founded in 1776, the Bolshoi is among the world's oldest ballet companies. In the early 20th century, it came to internatio ...
's principal ballerina. In 1983 the stage director
Peter Brook Peter Stephen Paul Brook (21 March 1925 – 2 July 2022) was an English theatre and film director. He worked first in England, from 1945 at the Birmingham Repertory Theatre, from 1947 at the Royal Opera House, and from 1962 for the Royal Shak ...
produced an adaptation of Bizet's opera known as ''La Tragedie de Carmen'' in collaboration with the writer Jean-Claude Carrière and the composer Marius Constant. This 90-minute version focused on four main characters, eliminating choruses and the major arias were reworked for chamber orchestra. Brook first produced it in Paris, and it has since been performed in many cities."''La Tragédie de Carmen''
Naples, Florida; Opera Naples, Arts Naples World Festival; ''
Opera News ''Opera News'' is an American classical music magazine. It has been published since 1936 by the Metropolitan Opera Guild, a non-profit organization located at Lincoln Center which was founded to engender the appreciation of opera and also support ...
'', 1 May 2015; accessed 13 April 2019
The character "Carmen" has been a regular subject of film treatment since the earliest days of cinema. The films were made in various languages and interpreted by several cultures, and have been created by prominent directors including ,
Raoul Walsh Raoul Walsh (born Albert Edward Walsh; March 11, 1887December 31, 1980) was an American film director, actor, founding member of the Academy of Motion Picture Arts and Sciences (AMPAS), and the brother of silent screen actor George Walsh. He w ...
(1915) with
Theda Bara Theda Bara ( ; born Theodosia Burr Goodman; July 29, 1885 – April 7, 1955) was an American silent film and stage actress. Bara was one of the more popular actresses of the silent era and one of cinema's early sex symbols. Her femme fatal ...
,
Cecil B. DeMille Cecil Blount DeMille (; August 12, 1881January 21, 1959) was an American film director, producer and actor. Between 1914 and 1958, he made 70 features, both silent and sound films. He is acknowledged as a founding father of the American cinem ...
(1915), and '' The Loves of Carmen'' (1948) with
Rita Hayworth Rita Hayworth (born Margarita Carmen Cansino; October 17, 1918May 14, 1987) was an American actress, dancer and producer. She achieved fame during the 1940s as one of the era's top stars, appearing in 61 films over 37 years. The press coined th ...
and
Glenn Ford Gwyllyn Samuel Newton "Glenn" Ford (May 1, 1916 – August 30, 2006) was a Canadian-American actor who often portrayed ordinary men in unusual circumstances. Ford was most prominent during Classical Hollywood cinema, Hollywood's Golden Age as ...
, directed by
Charles Vidor Charles Vidor (born Károly Vidor; July 27, 1900June 4, 1959) was a Hungarian film director. Among his film successes are ''The Bridge'' (1929), ''The Tuttles of Tahiti'' (1942), ''The Desperadoes'' (1943), ''Cover Girl'' (1944), '' Together A ...
.
Otto Preminger Otto Ludwig Preminger ( , ; 5 December 1905 – 23 April 1986) was an Austrian-American theatre and film director, film producer, and actor. He directed more than 35 feature films in a five-decade career after leaving the theatre. He first gai ...
's 1954 ''
Carmen Jones ''Carmen Jones'' is a 1943 Broadway musical with music by Georges Bizet (orchestrated for Broadway by Robert Russell Bennett) and lyrics and book by Oscar Hammerstein II which was performed at The Broadway Theatre. Conceptually, it is Bizet's op ...
'', with an all-black cast, is based on the 1943
Oscar Hammerstein Oscar Hammerstein may refer to: *Oscar Hammerstein I (1846–1919), cigar manufacturer, opera impresario and theatre builder *Oscar Hammerstein II Oscar Greeley Clendenning Hammerstein II (; July 12, 1895 – August 23, 1960) w ...
Broadway musical of the same name, an adaptation of the opera transposed to 1940s
North Carolina North Carolina () is a state in the Southeastern region of the United States. The state is the 28th largest and 9th-most populous of the United States. It is bordered by Virginia to the north, the Atlantic Ocean to the east, Georgia and So ...
extending to Chicago. ''
The Wild, Wild Rose ''The Wild, Wild Rose'' ( zh, t=野玫瑰之戀, s=野玫瑰之恋, first=t, l=Romance of the Wild Rose, w=Yeh-mei-kui chih-lien, p=yě méiguī zhī liàn, j=je5 mui4 gwai3 zi1 lyun2) is a 1960 Hong Kong film directed by Wong Tin-lam. The plot ...
'' is a 1960 Hong Kong film which adapts the plot and main character to the setting of a Wanchai nightclub, including striking renditions of some of the most famous songs by
Grace Chang Grace Chang (born 13 June 1933), known in Chinese as Ko Lan (葛蘭), is a Hong Kong-Chinese actress and singer. She was a popular idol in the 1950s, especially among students and the middle class. She was a renowned Cathay Organization actress w ...
. Other adaptions include
Carlos Saura Carlos Saura Atarés (born 4 January 1932) is a Spanish film director, photographer and writer. Along with Luis Buñuel and Pedro Almodóvar, he is considered to be one of Spain’s most renowned filmmakers. He has a long and prolific career th ...
(1983) (who made a flamenco-based
dance film A dance film (also known as screen dance) is a film in which dance is used to reveal the central themes of the film, whether these themes be connected to narrative or story, states of being, or more experimental and formal concerns. In such films, ...
with two levels of story telling), Peter Brook (1983) (filming his compressed ''La Tragédie de Carmen'') and
Jean-Luc Godard Jean-Luc Godard ( , ; ; 3 December 193013 September 2022) was a French-Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the French New Wave film movement of the 1960s, alongside such filmmakers as Fran ...
(1984).
Francesco Rosi Francesco Rosi (; 15 November 1922 – 10 January 2015) was an Italian film director. His film ''The Mattei Affair'' won the Palme d'Or at the 1972 Cannes Film Festival. Rosi's films, especially those of the 1960s and 1970s, often appeared to ha ...
's
film A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere ...
of 1984, with
Julia Migenes Julia Migenes (born March 13, 1943) is an American soprano working primarily in musical theatre repertoire. She was born on the Lower East Side of New York (Manhattan) to parents of Irish and Puerto Rican descent. (Her stepfather was of Greek ...
and
Plácido Domingo José Plácido Domingo Embil (born 21 January 1941) is a Spanish opera singer, conductor, and arts administrator. He has recorded over a hundred complete operas and is well known for his versatility, regularly performing in Italian, French, ...
, is generally faithful to the original story and to Bizet's music. ''
Carmen on Ice ''Carmen on Ice'' is a 1990 dance film with a choreography for figure skaters made in Germany. The music is based on the opera '' Carmen'' by Georges Bizet in an orchestral version arranged especially for this film. In contrast to figure skati ...
'' (1990), starring
Katarina Witt Katarina Witt (, ; born 3 December 1965) is a German former figure skater. A two-time Olympic champion, Witt is regarded as one of the greatest ladies' singles figure skaters of all time. Her Laureus profile states "she is remembered most for h ...
,
Brian Boitano Brian Anthony Boitano (born October 22, 1963) is an American figure skater from Sunnyvale, California. He is the 1988 Olympic champion, the 1986 and 1988 World Champion, and the 1985–1988 U.S. National Champion. He turned professional foll ...
and
Brian Orser Brian Ernest Orser, (born 18 December 1961) is a Canadian former competitive and professional figure skater and coach to Olympic champions. He is the 1984 and 1988 Olympic silver medallist, 1987 World champion and eight-time (1981–88) Can ...
, was inspired by Witt's gold medal-winning performance during the
1988 Winter Olympics The 1988 Winter Olympics, officially known as the XV Olympic Winter Games (french: XVes Jeux olympiques d'hiver) and commonly known as Calgary 1988 ( bla, Mohkínsstsisi 1988; sto, Wîchîspa Oyade 1988 or ; cr, Otôskwanihk 1998/; srs, Guts ...
. Robert Townsend's 2001 film, '' Carmen: A Hip Hopera'', starring
Beyoncé Knowles Beyoncé Giselle Knowles-Carter ( ; born September 4, 1981) is an American singer, songwriter, and actress. Beyoncé's boundary-pushing artistry and vocals have made her the most influential female musician of the 21st century, according to ...
, is a more recent attempt to create an African-American version. ''Carmen'' was interpreted in modern ballet by the South African dancer and choreographer
Dada Masilo Dada Masilo is a South African dancer and choreographer, known for her unique and innovative interpretations of classical ballets. Trained in classical ballet and contemporary dance, Masilo fuses these techniques with African dance steps to ...
in 2010.


References


Notes


Footnotes


Sources

* * * * * * * * * * * * * *


External links

* These include: ** Full orchestral score, Choudens 1877 (republished by Könemann, 1994) ** Full orchestral score, Peters 1920 (republished by Kalmus, 1987) ** Vocal score, Choudens 1875 * (Vocal score, with words provided in English and French, based on the 1875 arrangement of Ernest Guiraud)
''Carmen'' by Prosper Mérimée (1845)
Project Gutenberg
Libretto

Carmen
on
IMDb IMDb (an abbreviation of Internet Movie Database) is an online database of information related to films, television series, home videos, video games, and streaming content online – including cast, production crew and personal biographies, ...
{{Authority control 1875 operas French-language operas Opera world premieres at the Opéra-Comique Operas Operas based on novels Operas adapted into films Operas by Georges Bizet Opéras comiques Operas set in Spain Works based on Carmen (novella) Music controversies Opera controversies Operas based on works by Prosper Mérimée