[25] 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.[91]. In der Namensvariante Carmelo ist das «l» erhalten. He and José fight. Although this failed and was withdrawn after 11 performances,[4] it led to a further commission from the theatre, this time for a full-length opera for which Henri Meilhac and Ludovic Halévy would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. Frasquita and Mercédès are keen to help them, but Carmen refuses, since she wishes to wait for José. [74] Each departs significantly from Bizet's vocal score of March 1875, published during his lifetime after he had personally corrected the proofs; Dean believes that this vocal score should be the basis of any standard edition. The music reflects their contrasting attitudes: Escamillo remains, says Newman, "invincibly polite and ironic", while José is sullen and aggressive. José arrives with the new guard, who is greeted and imitated by a crowd of urchins ("Avec la garde montante"). 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. [27], 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. When the theme is used to represent Carmen, the orchestration is lighter, reflecting her "fickle, laughing, elusive character". [n 4] 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. On the right, a door to the tobacco factory. A square, in Seville. [29] The softer vein returns briefly, as Micaëla reappears and joins with José in a duet to a warm clarinet and strings accompaniment. On hearing a gunshot she hides in fear; it is José, who has fired at an intruder who proves to be Escamillo. After the composer's death, the score was subject to significant 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 versions best express Bizet's intentions. 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. There is no definitive edition, and there are differences among musicologists about which version represents the composer's true intentions. e.V. In act 3 only Micaëla's aria earned applause as the audience became increasingly disconcerted. [70] By 1888, the year of the 50th anniversary of Bizet's birth, the opera had been performed there 330 times;[66] by 1938, his centenary year, the total of performances at the theatre had reached 2,271. It was Bizet who first proposed an adaptation of Prosper Mérimée's novella Carmen. [74] 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. Carmen! 6 (Fantasia da camera super Carmen), is based on themes from Carmen. Carmen Scarano, Breitscheidstr. Diese Seite wurde zuletzt am 6. [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". Holà! While he pleads vainly for her to return to him, cheers are heard from the arena. open search form open sidebar [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. [28], Dean considers that José is the central figure of the opera: "It is his fate rather than Carmen's that interests us". [15] The two principals, José and Carmen, lie outside the genre. Juli 2020 um 04:40 Uhr bearbeitet. 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. Mein besonderes Einfühlungsvermögen und mein starkes soziales Engagement hat meinen Weg nachhaltig beeinflusst und mein Wesen geprägt. [59][60] Carmen was also acclaimed in numerous French provincial cities including Marseille, Lyon and, in 1881, Dieppe, where Galli-Marié returned to the role. 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"). [5] The subject of the projected work was a matter of discussion between composer, librettists and the Opéra-Comique management; Adolphe de Leuven, on behalf of the theatre, made several suggestions that were politely rejected. 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. [37] The role was then offered to Célestine Galli-Marié, who agreed to terms with du Locle after several months' negotiation. [101], The character "Carmen" has been a regular subject of film treatment since the earliest days of cinema. [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. Alone, she is confronted by the desperate José ("C'est toi ! [105] Francesco Rosi's film of 1984, with Julia Migenes and Plácido Domingo, is generally faithful to the original story and to Bizet's music. 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 CARMEN consortium is inviting applications for 11 Early Stage Researcher (ESR) PhD positions in the field of Classical and Ancient Studies. [61] But Carvalho, who had assumed the management of the Opéra-Comique, thought the work immoral and refused to reinstate it. (Carmen, Escamillo, Micaëla, Frasquita, Mercédès, le Dancaire, José, le Remendado, chorus), A deux cuartos! With a plot based on the 1845 novella of the same name by Prosper Mérimée, Bizet’s Carmen was groundbreaking in its realism, and it rapidly became one of the most popular Western operas of all time. [65], 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. [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. Numbers are from the vocal score (English version) printed by G. Schirmer Inc., New York, 1958 from Guiraud's 1875 arrangement. [20] One reason for the delay may have been the difficulties in finding a singer for the title role. [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. Au secours! The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. He reads that his mother wants him to return home and marry Micaëla, who retreats in shy embarrassment on learning this. The Sticky Rice Caper 24m. – Coupons! [82] The quintet that follows is described by Newman as "of incomparable verve and musical wit". They are more akin to the verismo style that would find fuller expression in the works of Puccini. After the premiere, most reviews were critical, and the French public was generally indifferent. Gefördert durch. 4. [33] The musicologist Hugh Macdonald observes that "French opera never produced another femme as fatale as Carmen", though she may have influenced some of Massenet's heroines. (Zuniga, José, Carmen, le Dancaire, le Remendado, Mercédès, Frasquita, chorus), Écoute, compagnon, écoute (Chorus of smugglers, Mercédès, Frasquita, Carmen, José, le Dancaire, le Remendado), Mêlons! She would rather die than be false to herself". 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, together with a brief reference to Carmen's card scene music. Sie wohnen an einem der reizvollen Boulevards im Zentrum von Granada und sind von den renommiertesten Kaufhäusern der Stadt umgeben. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. Auf den folgenden Seiten möchte ich Dir verschiedene Wege aufzeigen, wie ich Dich mit meiner Erfahrung und meinen … Escamillo enters with Carmen, and they express their mutual love ("Si tu m'aimes, Carmen"). The first part of act 2 also went well, but after the toreador's song there was, Halévy noted, "coldness". [25] In the early 21st century new editions were prepared by Robert Didion and Richard Langham-Smith, published by Schott and Peters respectively. José kneels and sings "Ah! [63] It enjoyed similar success in other American cities and in all parts of the world, in many different languages. Er lernt Carmen kennen, die seiner Vorstellung entspricht, probt mit ihr und dem Ensemble im Studio, … [58], 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. Wir freuen uns über eine Spende per Paypal oder per Überweisung. (Carmen, José), Finale: Holà! Carmen enters and sings her provocative habanera on the untameable nature of love ("L'amour est un oiseau rebelle"). "[46] 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. Carmen summons her gypsy comrades, who restrain Zuniga. ma Carmen adorée! Qui va là? Carmen is delighted to learn of José's release from two months' detention. Der spanische Name Carmen ist ursprünglich eine Koseform des Namens Carmel, wobei das «l» in Anlehnung an das lateinische Wort carmen, das ‚Lied, Gesang‘ oder ‚Gedicht‘ bedeutet, durch ein «n» ersetzt wurde. Carmen ist ein aus dem Spanischen stammender Vorname, der auch in anderen Sprachen gebraucht wird, im englischen Sprachraum auch als männlicher Vorname. Just as José declares that he is ready to heed his mother's wishes, the women stream from the factory in great agitation. Carmen lehnt ab, weil sie auf Don José warten will. [1] Bizet's professional relationship with Léon Carvalho, manager of the independent Théâtre Lyrique company, enabled him to bring to the stage two full-scale operas, Les pêcheurs de perles (1863) and La jolie fille de Perth (1867), but neither enjoyed much public success. [39] At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal. Er bezieht sich auf María del Carmen, Nuestra Señora del Carmen (Unsere Liebe Frau auf dem Berge Karmel) oder Virgen del Carmen (Jungfrau auf dem Berg Karmel), mit dem Skapulierfest (16. The latter reportedly saw the opera 20 times, and said that he would have "gone to the ends of the earth to embrace Bizet". Nur noch 8 auf Lager. Micaëla appears, seeking José. For Carmen and Don Jose, it reveals death. 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. [109], This article is about the opera. Prime Video Dieses Video ist derzeit nicht verfügbar. Sie hat ein paar Zentimeter beim Friseur gelassen. José is left behind on guard duty. Otto Preminger's 1954 Carmen Jones, with an all-black cast, is based on the 1943 Oscar Hammerstein Broadway musical of the same name, an adaptation of the opera transposed to 1940s' North Carolina extending to Chicago. [87], The final act is prefaced with a lively orchestral piece derived from Manuel García's short operetta El Criado Fingido. [21], Shortly before his death Bizet signed a contract for a production of Carmen by the Vienna Court Opera. Schulgasse 18, 94315 Straubing Phone: +49 (0) 9421 960-300 Web: https://www.carmen-ev.de. [15] 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 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. As José departs, vowing to return, the fate theme is heard briefly in the woodwind. [54] Carmen was often performed to half-empty houses, even when the management gave away large numbers of tickets. Carmen is an opera in four acts by French composer Georges Bizet. [107] Robert Townsend's 2001 film, Carmen: A Hip Hopera, starring Beyoncé Knowles, is a more recent attempt to create an African-American version. [5] Halévy, who had written the text for Bizet's student opera Le docteur Miracle (1856), was a cousin of Bizet's wife, Geneviève;[6] he and Meilhac had a solid reputation as the librettists of many of Jacques Offenbach's operettas. [31] Harold C. Schonberg likens Carmen to "a female Don Giovanni. [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. [55], In the following five years performances were given in numerous American and European cities. Natürlich eingerahmt von Akzenten in Eiche sägerau (Nachbildung). 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". 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". The films were made in various languages and interpreted by several cultures, and have been created by prominent directors including Gerolamo Lo Savio [it] (1909) [it], Raoul Walsh (1915) with Theda Bara,[102] Cecil B. DeMille (1915),[103] and The Loves of Carmen (1948) with Rita Hayworth and Glenn Ford, directed by Charles Vidor. Carmen Wilkerling; Das ffn-Team! It also won praise from both Wagner and Brahms. Weblinks. [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. Fritz Oeser's 1964 edition is an attempt to fill this gap, but in Dean's view is unsatisfactory. [78], The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the Toreador Song from act 2, and the motif that, in two slightly differing forms, represents both Carmen herself and the fate that she personifies. Now acknowledged as rivals for Carmen Wagnerism '' and invites her to return home and.. Unbeherrschbares, äußeres Phänomen, als „ oiseau rebelle “ – als Vogel, der sie willkürlich anfliegt mit Domingo/François. 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