Misc. Notes, Collection personnelle. Version masterisée. Chanté en français malgré l’édition d’origine allemande. Contenu d’après la pochette: Vorspiel I. Akt. More by Georges Bizet. Bizet: Carmen, WD 31 (Live) · Bizet: Djamileh, WD 27 · Georges Bizet – Essential Works · Bizet: Les pêcheurs de perles, WD The first music service that combines the best High Fidelity sound quality, High Definition music videos and expertly Curated Editorial.
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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 ; the ” Habanera ” from act 1 and the ” Toreador Song ” from act 2 are among the best known of all operatic arias.
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 Thereafter, it rapidly acquired popularity at home and abroad.
The music of Carmen has since been widely acclaimed for brilliance bizeh 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 bixet amendment, including the introduction of recitative in place of the original dialogue; there is no standard edition of the opera, and different views exist as to what bizeet best express Bizet’s intentions.
The opera has been recorded many times since the first acoustical recording inand the story has been the subject of many screen and stage adaptations. In the Paris of the s, despite being a Prix de Rome laureate, Bizet struggled to get his stage works performed. A square, in Seville. Seguidills the right, a door to the tobacco factory. At the back, a bridge. On the left, a guardhouse. A group of soldiers seguidil,a in the square, waiting for the changing of the guard and commenting on the passers-by “Sur la place, chacun passe”.
She segkidilla, saying she will return later.
Carmen enters and sings her provocative habanera on the untameable nature of love “L’amour est un oiseau rebelle”. 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 Two months have passed. Invited inside, he introduces himself with the ” Toreador Song ” “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. 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. Unconvinced, Carmen demands he show his love by leaving with her. The women depart to suborn the customs officers who are watching the locality.
As Escamillo leaves he invites everyone to his next bullfight in Seville. As he departs, vowing he will return, Escamillo is heard in the distance, singing the toreador’s song. Escamillo enters with Carmen, and they express their mutual love “Si tu m’aimes, Carmen”.
While he pleads vainly for her to return to him, cheers are heard from the arena. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. With rehearsals due to begin in OctoberBizet 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. 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 After the various delays, Bizet appears to have resumed work on Carmen early in He completed the draft of the composition—1, pages of music—in the summer, which he spent at the artists’ colony at Bougivaljust outside Paris.
He was pleased with the result, informing a friend: There is no definitive edition, and there are differences among musicologists about which version represents the composer’s true intentions.
He also provided a new opening line for the “Seguidilla” in act 1. They are more akin to the verismo style that would find fuller expression in the works of Puccini.
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: 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: Schonberg likens Carmen to “a female Don Giovanni. She would rather die than be false to herself”. This has deterred some of opera’s most distinguished exponents; Maria Callasthough she recorded the part, never performed it on stage. 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”.
Bizet was reportedly contemptuous of the music that he wrote for Escamillo: The search for a singer-actress to play Carmen began in the summer of Press speculation favoured Zulma Bouffarwho 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. She refused the part when she learned that she would be required to die on stage. Mapleson thought her “one of the most charming vocalists it has been my pleasure to know”.
However, she married and left the stage altogether inrefusing Mapleson’s considerable cash inducements to return. Because rehearsals did not start until October and lasted longer than anticipated, the premiere was delayed. The final act was “glacial from first to last”, and Bizet seguidiilla left “only with the consolations of a few friends”.
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. It seguidillw 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.
Shortly before his death Bizet signed a contract for a production of Carmen by the Segudilla Court Opera.
Seguidilla – Wikipedia
For this version, first staged on seuidilla OctoberBizet’s friend Ernest Guiraud replaced the original dialogue with seguirilla, to create a ” eeguidilla opera ” format. Despite its deviations from Bizet’s original format, and some critical reservations, the Vienna production was a great success with the city’s public, and won praise from both Wagner and Brahms.
The latter reportedly saw the opera 20 times, and said that he would have “gone to the ends of the earth to embrace Bizet”. The seguudilla Her Bbizet production, sung in Italian, had an equally enthusiastic reception in Dublin.
On 23 October the opera received its American premiere, at the New York Academy of Musicand in the same year was introduced to Saint Petersburg. In the following five bizer performances were given in numerous American and European cities, the opera finding particular favour in Germany, where the Chancellor, Otto von Bismarckapparently saw it on 27 different occasions and where Friedrich Nietzsche opined that he “became a better man when Bizet speaks to me”.
In August the singer wrote to Bizet’s widow to report that Carmen ‘ s Spanish premiere, in Barcelona, had been “another great success”. 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. The New York Times welcomed Bizet’s “pretty biet effective work”, but seguidila Zelia Trebelli ‘s interpretation of the title role unfavourably with that of Minnie Hauk.
Afterwards he sat up until 3 am reading the reviews in the early editions of the following day’s papers. The popularity of Carmen continued through succeeding generations of American opera-goers; by the beginning of the Met alone had performed it almost a thousand times.
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. Fritz Oeser ‘s edition is an attempt to fill this gap, but bize Dean’s view is unsatisfactory.
Oeser reintroduces seguidikla 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 Srguidilla McClary”inadvertently preserves as definitive an early bizey of the opera”. Dean places Bizet’s realism in a different category from the verismo of Puccini biizet 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. However, Dean insists that “[t]his 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 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. The tranquillity is shattered by the women’s noisy quarrel, Carmen’s dramatic re-entry and her defiant interaction with Zuniga.
Newman describes it as “an exquisite miniature, with much dialoguing and bixet between the woodwind instruments”. The music reflects their contrasting attitudes: Numbers are from the vocal score English version printed by G. Since then, many of the leading opera houses and artistes have recorded the work, in both studio and live performances. After Bizet’s death, his friend Ernest Guiraud adapted key musical themes from Carmen into two symphonic suites that are frequently programmed by orchestras.
Inthe Spanish violinist and composer Pablo de Sarasate — wrote a Carmen Fantasy for violin, described as “ingenious and technically difficult”. 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 Cecil B. The story is transposed to s Chicago, and employs an all-black cast.
From Wikipedia, the free encyclopedia. This article is about the opera. For other uses, see Carmen disambiguation. Cartoon from Journal amusant Prelude to act 1 2: Entr’acte to act 3 2: Entr’acte to act 4 2: L’amour est un oiseau rebelle Carmen, chorus as above Carmen!