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 Carmen. 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!"). Zuniga, the officer of the guard, learns that Carmen has attacked a woman with a knife. The pair fight ("Je suis Escamillo, toréro de Grenade"), but are interrupted by the returning smugglers and girls ("Holà, holà José"). Wir sind mit dabei! [21] Another was a split that developed between the joint directors of the theatre, Camille du Locle and Adolphe de Leuven, over the advisability of staging the work. [70][73] 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. CO2-Kompensation durch. Während diese ihren Freundinnen Glück verheißen, bedeuten sie für Carmen immer nur den Tod. 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". [49], The general tone of the next day's press reviews ranged from disappointment to outrage. – C'est moi! It was Bizet who first proposed an adaptation of Prosper Mérimée's novella Carmen. Ich mag: Sport und Schlemmen; ich schwimme und laufe gerne und liebe es, in der Küche zu stehen. 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. ma Carmen adorée! "[48] 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!". [66] Carmen's habanera from act 1, and the toreador's song "Votre toast" from act 2, are among the most popular and best-known of all operatic arias,[67] 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". A square, in Seville. 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;[21] he thus, according to Susan McClary, "inadvertently preserves as definitive an early draft of the opera". [78][81] Bizet revised this finale several times to increase its dramatic effect. [23] 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,[21] sometimes to meet the demands of individual singers, and otherwise in response to the demands of the theatre's management. (Chorus of citizens, Zuniga, Moralès, Frasquita, Mercédès), Les voici, voici la quadrille ... Si tu m'aimes, Carmen (Chorus of citizens, children, Escamillo, Carmen, Frasquita, Mercédès), Finale: C'est toi! [15], The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes. [39] At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal. Thereafter, it rapidly acquired popularity at home and abroad. Wir weisen darauf hin, dass die internetbasierte Datenübertragung Sicherheitslücken aufweist, ein lückenloser Schutz vor Zugriffen durch Dritte somit unmöglich ist. The first part of act 2 also went well, but after the toreador's song there was, Halévy noted, "coldness". Carmen: Musikfilm 1983 von Patrice Ledoux mit Plácido Domingo/François Le Roux/Ruggero Raimondi. The Sticky Rice Caper 24m. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. Macdonald suggests that outside the French repertoire, Richard Strauss's Salome and Alban Berg's Lulu "may be seen as distant degenerate descendants of Bizet's temptress". [94] Over the years many versions have been commended and reissued. [21][30] 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. The tranquillity is shattered by the women's noisy quarrel, Carmen's dramatic re-entry and her defiant interaction with Zuniga. [83] José's appearance precipitates a long mutual wooing scene; Carmen sings, dances and plays the castanets; a distant cornet-call summoning José to duty is blended with Carmen's melody so as to be barely discernible. The smugglers depart to transport their goods while the women distract the local customs officers. Escamillo is heard in the distance, singing the toreador's song. Although this failed and was withdrawn after 11 performances,[4] it led to a further commission from the theatre, this time for a full-length opera for which Henri Meilhac and Ludovic Halévy would provide the libretto. José refuses to desert, but as he prepares to depart, Zuniga enters looking for Carmen. 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. Carmen is delighted to learn of José's release from two months' detention. [63] It enjoyed similar success in other American cities and in all parts of the world, in many different languages. Likewise, the melody from Manuel García used in the act 4 prelude has been developed from "a rambling recitation to a taut masterpiece". Die Frauen sollen die Zöllner mit ihren Verführungskünsten ablenken, damit die Männer einen Teil der Waren über die Grenze bringen können. The music reflects their contrasting attitudes: Escamillo remains, says Newman, "invincibly polite and ironic", while José is sullen and aggressive. In Sevilla lernt er die Zigarettenfabrikarbeiterin Carmen kennen. Passend dazu: die strahlend-helle, freundliche Lärche Weiß (Nachbildung). [94], In 1883, the Spanish violinist and composer Pablo de Sarasate (1844–1908) wrote a Carmen Fantasy for violin, described as "ingenious and technically difficult". 01727073725. [email protected]. 6 (Chamber Fantasy on Themes from Bizet's Carmen)", "Up-dated Translation of Bizet Work Bows", "Dada Masilo: South African dancer who breaks the rules", The New Grove Dictionary of Music and Musicians, "Introduction: Looking at the Sources and Editions of Bizet's Carmen", International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Carmen&oldid=996079737, Opera world premieres at the Opéra-Comique, Pages containing links to subscription-only content, Short description is different from Wikidata, Articles with International Music Score Library Project links, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Cast details are as provided by Mina Curtiss (, 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), Carmen! [21] 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. [24] The vocal score that Bizet published in March 1875 shows significant changes from the version of the score that he sold to the publishers, Choudens [fr], in January 1875; the conducting score used at the premiere differs from each of these documents. At that point, according to Bizet's biographer Winton Dean, "some hitch at the Opéra-Comique intervened", and the project was suspended for a while. While each is presented quite differently from Mérimée's portrayals of a murderous brigand and a treacherous, amoral schemer,[19] even in their relatively sanitised forms neither corresponds to the norms of opéra comique. [18] 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". [78] 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. ", "C'est moi !"). 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. Weblinks. [50] There was consternation that the heroine was an amoral seductress rather than a woman of virtue;[51] Galli-Marié's interpretation of the role was described by one critic as "the very incarnation of vice". Back to Top ©2020 C.A.R.M.E.N. He also provided a new opening line for the "Seguidilla" in act 1. [99][100], In 1983 the stage director Peter Brook 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. [64] Two hours later he was awakened by the first violent shocks of the 1906 San Francisco earthquake, after which he and his fellow performers made a hurried escape from the Palace Hotel. Auf DVD und Blu-Ray Laut unabhängiger Gästebewertungen ist das der beliebteste Teil von Granada. Carmen (French: [kaʁ.mɛn]) is an opera in four acts by French composer Georges Bizet. 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"). The CARMEN consortium is inviting applications for 11 Early Stage Researcher (ESR) PhD positions in the field of Classical and Ancient Studies. [29] 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's own heroines. AGB Datenschutz Impressum. open search form open sidebar [88] When Micaëla pleads with José to go with her to his mother, the harshness of Carmen's music reveals her most unsympathetic side. Since then, many of the leading opera houses and artistes have recorded the work, in both studio and live performances. The final act was "glacial from first to last", and Bizet was left "only with the consolations of a few friends". e.V. They are more akin to the verismo style that would find fuller expression in the works of Puccini. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences. For this version, first staged on 23 October 1875, Bizet's friend Ernest Guiraud replaced the original dialogue with recitatives, to create a "grand opera" format. [2][3], 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 opened at the Opéra-Comique in May 1872. In February 1906 Enrico Caruso sang José at the Met for the first time; he continued to perform in this role until 1919, two years before his death. Dort erreicht ihn der Befehl, nach Sevilla zu kommen, da er befördert werden soll. 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. 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