The story is set in Seville, Spain, circa 1830, and covers the eponymous Carmen, a beautiful gypsy with a fiery temperament. Free with his love, he woos the corporal Don José, a soldier inexperienced. Their relationship to his refusal of his former love, the revolt against his superior, in turn a criminal life, and last, jealous murder of Carmen. Although he is happy briefly with Carmen, he falls into madness when you pass by him on the bullfighter Escamillo. Camille du Locle, the artistic director of the Opera-Comique Bizet commissioned to write an opera based on the novel by Mérimée in early 1873 for preview at the end of 'years. However, difficulty in finding a leading lady evidence caused not begin until August 1874. Bizet bought a house in Bougival on the Seine, where he finished the piano score in the summer of 1874, and took another two months to complete a full orchestration. [3] During the tests, du Locle assistant De Leuven expressed his discontent about the work of the plot, and the pressures of Bizet and librettists to change the tragic end. De Leuven felt that families would not have the courage to go and see this kind of "debauched" work. The Comique had a reputation as a family drama, with many boxes used by parents for future interview sons-in-law. The librettists decided to change the ending, but has refused to Bizet, which led directly to De Leuven resignation from production in early 1874. Full tests finally began in October and continued for an unexpected five months. The Comique orchestra's score declared unplayable, and the cast were having difficulty following directions Bizet. However, the biggest opposition came from du Locle [4], who wanted to personally Bizet, but hated the work. At this stage, the Comique was desperate financial leaders du Locle to believe that the work would overturn the company in difficulty, which had failed to produce a real success from Gounod's Faust. The librettists, which was simply a sideshow Carmen, secretly tried to lead singers in excess dramatise, in order to reduce the impact of the work. However, much to the delight of Bizet, the final seemed evidence to convince a majority of the company of genius lyric. According to the diary Halévy, the first did not go well. Act I was quite well received and the entr'acte Act II was applauded. However, with the exception of Micaëla's aria in Act III, the Acts II, III and IV were greeted with deafening silence. Critics were scathing, arguing that the book was inappropriate for Comique. Bizet was also condemned by community music of Wagner, after making the orchestra more important than the human voice [5]. However, some critics, as the poet Théodore de Banville, praised the work for its innovation. Banville lauded the librettists for writing characters that were more realistic than those normally acted at the Comique. However, the negative reviews caused the work to have only 48 performances in its first year. Towards the end of his running the Comique, management has been selling wholesale tickets in a vain attempt to make a profit. Later, the principles, in particular Galli-Marié, became unemployable. During the next century, which has become a staple of standard operatic repertoire. Although the role of the title was written for a mezzo-soprano, most famous sopranos (including Leontyne Price, who also won the institutionalized racism along the way), have played and recorded the role, causing a lot of debate on type voice, best for the role. In addition to standard mezzo-soprano and the select group of sopranos who have essayed the role, contraltos have also portrayed Carmen, although not as often. The singer must have not only a great range, can often get to the bottom of his vocal range, but also expose top dramatic skills, in order to portray Carmen's complex character, and beyond all that to be a good dancer. Carmen and Jose have three duets, which represent three stages of their relationship. The first is still ongoing seduction, the second in Act II is the conflict, and in the last act IV is the tragic resolution. Musically, the duets are not in traditional style French or Italian duets, in which two voices become one. They show the incompatibility of Carmen and José, as almost never sing together. The characters, and Escamillo Micaëla, are not as developed as the two protagonists, and are used to reflect on the door. José's Micaëla is naive past, which represents Carmen Escamillo's exciting future. Micaëla is Gounod's opera, which is Escamillo from the traditional opera buffa. Micaëla has a slight air and Act III, which shows its significance and history is not large: it was created to be Carmen's opposite, but is also the mother of José. Escamillo is the famous "Toreador Song" by Bizet-knew that would be the song popular, but secretly despised, saying "They want their trash, and get it". Bizet uses a very light theme, preferring to use new material for each scene. There are two reasons connected with Carmen. The first is the reason Carmen Destino, and owes its increased 2nds Spanish music. It is ominously heard directly after the Prelude, and foreshadows the end of the opera. It is heard in this form, when José Carmen chooses as her lover, at the Flower Song, and during the final moments opera. It is also heard in an accelerated, at the Carmen. This theme is most often heard in the strings, and is used when the slow version stop the flow of music. This is particularly felt when playing card scene (No.20). The other issue associated with Carmen is its influence on José. It is after hearing José is chosen as the lover of Carmen, and when Carmen is taken away by police and Jose Zuniga. In a sequence cut from the original version, located in frantic chorus of women underway, the two themes are played contrapuntally. Bizet Carmen original drawing took place for dialogue and recitative. After the death of Bizet, the music community felt that it would be more appreciated in the form of Grand Opera, rather than opéra comique. Bizet friend Ernest Guiraud recitatives written for the first performance in Vienna in 1875, which were used until 1960. (Except at the Opera-Comique, where dialogue Carmen remained in repertoire in 1950). They are now regarded as harmful to the work as a whole. The recitatives destroyed Bizet careful pacing, and interrupted the process of characterization significantly. The recitatives seem to go back in fashion in large theaters, such as the Metropolitan, where the spoken dialogue is difficult project. A new edition in 1964 by Fritz Oeser claimed to have restored vision Bizet original material including previously cut from the premiere, and the resumption of dialogue. Unfortunately, Oeser not realize that much has been cut by Bizet, and subsequently included several sections that were not requested. He has also made major changes to the stage and rewrite some indications of the libretto. Today, the only appropriate customer is a customer voice Bizet, published in 1875. There is still no precise full score, and each production is judged by the competence of the conductor of choice for a client. Most of the records after the publication of the edition Oeser manipulates the Opera-Comique, and Oeser Guiraud versions. Fruhbeck version of the 1970 (pure Opéra-Comique) contains a pantomime scene with Moralés and choir, which was cut from the original production, but has remained in the score. A beautiful square in Seville with a cigarette factory, a guard house and a bridge. Morales and soldiers are on guard, very bored ( "Sur la place, Chacun passes"). Micaëla appears seeks José, his boyfriend, but is accosted by soldiers impudent desire that his company, causing her to flee. As José approaches with the new guard, and that the soldiers are imitated by street-children ( "Avec la garde montante"). The cigarette girls emerge from the factory, greeted by their men ( "The cloche a sonné"). Carmen appears, and all men will ask her when their love ( "Quand je vous aimerai?"). She replies that loves the man who does not love her and the famous Habanera ( "L'amour est un oiseau rebelle"). When asked to choose a lover, throws a flower in front of José ( "Carmen! Sur tes pas, nous nous tous pressons!"). José is temporarily until transfixed Micaëla led him kiss and a letter from his mother ( "Parle-moi de ma mère!"). José thinks longingly of his home. As soon as its leaves, screams are heard from the factory and exhausted women, singing chaotic ( "Au secours! Au secours!"). Don José and his manager, Carmen Zuniga who has been fighting with another woman, and cut his face with a knife. Zuniga attempts to question impudently Carmen, who sings a folk song, ignoring him (Tra la la "). Jose Zuniga responsible for his arrest and his escort to prison. Jose Carmen seduces with a Seguidilla ( "Près des remparts de Séville"), and José convinced to leave his escape. José was arrested for having Carmen escape. Evening at Lillas Pastia's inn, frequented by smugglers. Carmen and her friends Frasquita and Mercédès sing and dance ( "Les tringles sist des-res tintaient" Gypsy Song). Zuniga attempts to woo Carmen, but you can only think of José, who was in prison for a month and will be released that day. The Matador Escamillo is greeted with great enthusiasm by patrons ( "Vivat, vivat only Toréro"). He sings the Toreador Song ( "Votre toast, I can vous le rendre") and attempts to woo Carmen. Carmen refuses him as well. The smugglers Dancaïro Remendado and discuss plans with Carmen and her friends Gypsy ( "Nous avons en tête an affaire" - Quintet). Carmen refuses to accompany them, you can only think of José. José arrive singing a song people (Halte there!), And he and Carmen are left alone. Carmen stories vexes him with his dance. He dances for him alone ( "Je vais en danser votre honneur Lalala ..."), but is interrupted by trumpets calling soldiers in the barracks. Carmen's temper flares when José begins to leave, because of his commitment he and his devotion to the Flower Song ( "La fleur que tu m'avais jetée"). Carmen asks him to join the smugglers if he really loves her ( "Non, non pas tu m'aime"). He refuses to leave and start when you are surprised by Zuniga. He draws his sword to his superior officer, but Gypsies disarm both of them and remove Zuniga ( "Mon cher monsieur"). José is forced to flee with Carmen ( "bas in the mountains"). A rocky gorge, where smugglers ply their trade. José arrive with smugglers ( "Écoute, écoute, shareholder"), Carmen loves, but is no longer him, knowing that he is not his game. I now turn Escamillo. Carmen, Frasquita and Mercedes read the papers ( "Mêlons! Coupon!"). Frasquita and Mercedes provide love and romance, wealth and luxury, and their cards, but the cards predict Carmen's for his death and José ( "En vain to avoid les réponses amères"). The smugglers plan their actions ( "Quant au douanier, c'est notre affaire"). Micaëla comes with a guide to finding José ( "Je dis, which is not covered m'épouvante"), and hides in the rock when you hear a gunshot. José Escamillo arrives and says that he is infatuated with Carmen and José tells the story of his affair with a soldier, not knowing that José is the soldier. A fight between Jose and Carmen Escamillo is more narrowly averted the smugglers ( "Holà, holà José"). Escamillo leaves, but Carmen and the smugglers calls for the corrida. Micaëla José emerge, and says that his mother wants to see him. At first refused to go ( "Non, non partirai pas!"), Until Micaëla tells him that his mother is dying. Vowing that he will return to Carmen, he leaves. As he is leaving, Escamillo is heard singing in the distance. Carmen falls to the sound of his voice, but his way of José bar. A square in front of the stage in Seville. The general population, in order to prepare the bull fight ( "A deux cuartos!") (Occasionally performed as a ballet with different text: "Dansez, dansez"), and who see get the cuadrilla ( "Les voici! Voici the quadrille" ). Carmen Escamillo and are welcomed by a large crowd and celebrate the love and victory, Carmen adding that she had never loved so much ( "Si tu m'aimes, Carmen"). Frasquita warns Carmen José, which is among the crowd ( "Carmen! Prends garde!), Which he intends to kill her, but she says Carmen speak to him. Before we enter the scene in front of you is pale and desperate José ( "C'est toi! C'est moi!"). "For the last time in mid crowds he asks for her love and loyalty, even after he repeatedly says that you do not love. Scornfully When sheds back the ring he gave her ( "Cette bague, autrefois"), he stabs to his heart ( "Eh bien, damnée") and died for the moment that Escamillo staging triumphs. spectators leaving the scene and José completely broken, Confessa its operations to all, exclaiming: "Ah! Carmen! With Carmen adorée! . "A number of classical composers have used themes from Carmen as a basis for their work. Some of these, such as Pablo de Sarasate's Carmen Fantasy (1883) for violin and orchestra, Franz Waxman's Carmen Fantasy (1946) for violin and orchestra and Vladimir Horowitz's Variations on a theme by Carmen piano soloist virtuoso showpieces are in the tradition of fantasias on themes opera. Ferruccio Busoni wrote a Sonatina (No. 6), Fantasia for piano called super chamber Carmen (1920), which uses themes from operas. There are also two suites of music taken directly from Bizet's opera, often recorded and performed in orchestral concerts. In 1984, a film version was produced. This movie stars as Carmen Julia Migenes and Plácido Domingo as Don José, with Lorin Maazel conducting the Orchestre National de France. powerful cast and traditional management has made popular with the public. 'was the first film to use the version of Bizet spoken dialogues instead of recitatives. entire soundtrack was released on CD. Prelude Damrosch The Orchestra performs the Prelude (including the Toreador Song) in 1903 to Entr'acte Act III, perhaps the most popular of entr'actes Entr'acte of Act IV also very popular is the fast very short Entr 'ACTE which prepares the final ^ For example, the song Gypsy (No. 12) is based on efficacy melodic and rhythmic strong support from the orchestra, and is essentially unperformable otherwise, while shares of the famous song Toréador later in Act II, can not be heard clearly over the orchestra, too, with a powerful low singing Escamillo's hand, if the driver is careless.
