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CHAN 3091(2) CHANDOS O PERA IN ENGLISH

PETER MOORES FOUNDATION CHAN 3091 BOOK.qxd 24/4/07 2:01 pm Page 2

Georges Bizet (1838–1875) Opéra-Comique in four acts by and Ludovic Halévy based on the novella by Prosper Mérimée New Urtext Edition by Richard Langham Smith with English translation by , published by Peters Edition Ltd Carmen, a gipsy girl ...... Patricia Bardon mezzo- Micaëla, a country girl ...... Mary Plazas soprano Frasquita, a gipsy girl ...... Mary Hegarty soprano Mercédès, a gipsy girl ...... Sally Harrison soprano Don José, a corporal ...... Julian Gavin Escamillo, a bullfighter...... Garry Magee Dancaïre, a smuggler ...... Peter Wedd tenor Remendado, a smuggler ...... Mark Le Brocq tenor Zuniga, a lieutenant...... Nicholas Garrett -baritone Moralès, a sergeant...... Toby Stafford-Allen baritone

Woodcut by Philippe Joseph Henri Lemaire/Lebrecht Henri Joseph Philippe by Woodcut Collection An Orange Vendor ...... Clare McCaldin mezzo-soprano A Gipsy ...... Paul Parfitt bass-baritone Officers, Soldiers, Children, Cigarette Girls, Gipsies, Smugglers etc. Geoffrey Mitchell New London Children’s Choir Ronald Corp musical director Philharmonia Stuart Stratford assistant conductor David Parry

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COMPACT DISC ONE Time Page Time Page

1 Prelude 3:22 [p. 100] 13 ‘The cheek of it!’ 0:22 [p. 107] Don José, Micaëla Act I 14 ‘Give me news of my mother!’ 1:31 [p. 107] 2 ‘In the plaza’ 2:05 [p. 100] Don José, Micaëla Soldiers, Moralès 15 ‘Your dear mother and I were leaving church this morning’ 2:15 [p. 108] 3 ‘Just look at that delicious morsel’ 4:09 [p. 100] Micaëla, Don José Moralès, Soldiers, Micaëla 16 ‘I see my mother’s face!’ 5:50 [p. 108] 4 ‘Here come our new soldier boys’ 2:27 [p. 102] Don José, Micaëla Children 17 ‘Wait a moment – I’m going to read the letter’ 0:32 [p. 109] 5 ‘José! There was a girl here looking for you just now’ 0:17 [p. 103] Don José, Micaëla Moralès, Don José 18 ‘Come and help!’ 2:58 [p. 110] 6 ‘Off with you old soldier boys’ 1:16 [p. 103] Cigarette Girls, Zuniga, Soldiers Children 19 ‘So, corporal: tell me what happened’ 0:11 [p. 111] 7 ‘Corporal!’ ‘Sir!’ 0:53 [p. 103] Zuniga, Don José Zuniga, Don José 20 ‘Well, Carmencita: what do you have to say for yourself?’ 2:28 [p. 112] 8 ‘We have heard the bell summon us to meet here’ 1:34 [p. 104] Zuniga, Carmen Young Men 21 ‘Where are you taking me?’ 0:53 [p. 113] 9 ‘Ah, just look!’ 4:01 [p. 104] Carmen, Don José Soldiers, Cigarette Girls, Young Men 22 ‘There’s an old bar in the city’ (Seguedilla) 4:37 [p. 113] 10 ‘But why hasn't she come, our Carmencita?’ 1:15 [p. 105] Carmen, Don José Soldiers, Young Men, Cigarette Girls, Carmen 23 ‘Careful – it’s the lieutenant!’ 2:08 [p. 115] 11 ‘Love’s a bird wild as any rebel’ (Habanera) 4:31 [p. 106] Don José, Zuniga, Carmen Carmen, Cigarette Girls, Young Men, Soldiers 12 ‘Carmen! We will follow you high and low!’ 1:34 [p. 106] 24 Entr’acte 1:42 [p. 115] Young Men, Carmen, Don José, Cigarette Girls

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Time Page COMPACT DISC TWO Time Page Act II 25 ‘From far away mysterious sounds’ (Gipsy Song) 5:29 [p. 115] 1 ‘To bid you welcome to our bar’ 0:38 [p. 125] Carmen, Frasquita, Mercédès Carmen 26 ‘Bravo, bravo! More! Keep dancing!’ 0:57 [p. 116] 2 ‘La la la la la la la la…’ 2:18 [p. 125] Zuniga, Frasquita, Mercédès, Carmen Carmen, Don José 27 ‘Hurrah! Hurrah! The Torero!’ 0:16 [p. 117] 3 ‘Back to camp!… Go at once!’ 2:35 [p. 125] Friends of Escamillo Carmen, Don José 28 ‘Who’s that?’ ‘It’s Escamillo, the bullfighter from Granada’ 0:12 [p. 117] 4 ‘That flow’r you threw to me I treasured’ (Flower Song) 3:55 [p. 126] Zuniga, Frasquita, Friends of Escamillo Don José 29 ‘Hurrah! Hurrah! The Torero!’ 0:35 [p. 117] 5 ‘No, it’s not love at all!’ 4:14 [p. 127] Zuniga, Officers, Friends of Escamillo, Mercédès, Frasquita, Carmen, Don José Carmen, Moralès, Escamillo 6 ‘Hello! Carmen!’ 1:31 [p. 129] 30 ‘You’re most kind’ (Toreador’s ) 5:10 [p. 118] Zuniga, Don José, Carmen Escamillo, Frasquita, Mercédès, Carmen, Moralès, Zuniga, 7 ‘Lieutenant fair, it’s true’ 2:50 [p. 129] Officers, Friends of Escamillo Carmen, Remendado, Dancaïre, Gipsies, Zuniga, Don José, 31 ‘We’ll come with you, Señor Torero’ 1:03 [p. 119] Frasquita, Mercédès Zuniga, Escamillo, Friends of Escamillo, Carmen, Frasquita, 8 ‘The sky above the open road’ 1:02 [p. 131] Mercédès Gipsies, Frasquita, Mercédès, Carmen, Don José, Remendado, 32 ‘Toreador, be ready!’ 1:10 [p. 120] Dancaïre Friends of Escamillo 33 ‘At last!’ ‘We got rid of them as quickly as we could’ 0:14 [p. 120] 9 Entr’acte 2:38 [p. 131] Remendado, Frasquita, Dancaïre, Mercédès 34 ‘There’s a little job that we’re starting!’ 4:50 [p. 120] Dancaïre, Mercédès, Frasquita, Remendado, Carmen 35 ‘Being in love is not a reason’ 2:25 [p. 122] Dancaïre, Carmen, Frasquita, Mercédès, Don José TT 75:20

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Time Page Time Page

Act III 21 ‘Holà! holà! José!’ 2:51 [p. 139] 10 ‘Keep going, dear old friend, keep going!’ 4:25 [p. 131] Carmen, Escamillo, Dancaïre Gipsies, Frasquita, Mercédès, Carmen, Don José, Remendado, 22 ‘You should take care, Carmen’ 4:00 [p. 140] Dancaïre Don José, Dancaïre, Gipsies, Remendado, Carmen, Micaëla, 11 ‘Right! Let’s stop for a while’ 1:03 [p. 131] Frasquita, Mercédès Dancaïre, Don José, Carmen 23 ‘Alas! José, your mother is ill’ 2:04 [p. 142] 12 ‘Shuffle! Cut them!’ 4:05 [p. 132] Micaëla, Don José, Escamillo Frasquita, Mercédès, Carmen 13 ‘In vain you would avoid the bitter things they’re saying’ 3:12 [p. 133] 24 Entr’acte 2:12 [p. 142] Carmen, Frasquita, Mercédès 14 ‘You’re back!’ 0:35 [p. 134] Act IV Frasquita, Dancaïre, Mercédès, Carmen, Remendado, Don José 25 ‘A few cuartos! A few cuartos!’ 2:12 [p. 142] 15 ‘As for that man, it should be easy!’ 3:07 [p. 135] Merchants, Vendors, Zuniga, An Orange Vendor, A Gipsy Frasquita, Mercédès, Carmen, Gipsies, Remendado, Dancaïre 26 ‘Here they come! Here they come!’ 3:46 [p. 143] 16 ‘Is this the place?’ 0:16 [p. 136] Children, Merchants, Vendors, Crowd Micaëla, Guide 27 ‘If you love me, Carmen’ 3:24 [p. 145] 17 ‘I say that there’s nothing to fear’ 5:15 [p. 136] Escamillo, Carmen, Cordeliers, Frasquita, Mercédès Micaëla 28 ‘It’s you!’ ‘It’s me!’ 6:06 [p. 146] 18 ‘It’s him! I’m sure it’s him over there!’ 0:16 [p. 136] Carmen, Don José Micaëla, Escamillo, Don José 29 ‘Viva! Viva! What a corrida!’ 3:53 [p. 147] 19 ‘Escamillo is my name, and I come from Granada’ 1:01 [p. 137] Crowd, Don José, Carmen Escamillo, Don José TT 79:59 20 ‘She had a lover here’ 4:24 [p. 137] Escamillo, Don José

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Patricia Bardon Mary Plazas CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 12

The trend more recently has been to revert was written for the second Salle Favart, which Bizet: Carmen to the format of the ‘opéra comique’, a term was gutted by fire in May 1887. In different which benefits from a little elucidation, not ways, the was shaped by the last three Probably the most popular opera of all time, know something of the mixed bag of ingredients least because it has four distinct meanings. meanings of the word: it is an opéra comique, Bizet’s Carmen has been filmed over eighty that went into it and the two principal ways in ‘Opéra comique’ can mean a ‘’ but it adhered to the conditions demanded by the times and adapted in at least as many ways: it which it has been produced. The original Carmen is certainly not that. In a second sense, Opéra-Comique, and it was first done in the is one of those works which reveal a few more version was premiered at the Opéra-Comique in an ‘opéra comique’, as has been mentioned, is a Opéra-Comique. of their secrets every time they are redone. The Paris in March 1875, and complied with the stage work in which the performers combine Carmen’s success is in some considerable overriding fascination of the opera is of course stipulation that all Opéra-Comique spectacles at speech, often dialogue, with singing – the word measure due to its excellent libretto, written the character of its gipsy heroine. And while this time must combine speech and song. In ‘comique’ being allied to the French word by a pair of librettists who had collaborated Carmen has as many personalities as she has rehearsal, with the composer in attendance, cuts ‘comédien’, actor. The Opéra-Comique was a already. Henri Meilhac was largely responsible interpreters, she has had no difficulty in were made, both in the music and in the spoken company which, apart from requiring a for shaping the plot, and for writing the changing with the times. Certainly, for dialogue, a procedure continued in productions combination of speech and song, had other spoken dialogue. Ludovic Halévy produced nineteenth-, and for many twentieth-century of the Opéra-Comique version ever since, stipulations built into its statutes. It had, for the rhymed poetry of the songs and . But audiences she was the evil woman who led even though only minimally in the present example, a duty both to encourage new works the idea for Carmen had come from Bizet José to destruction. There was no doubt about recording. by French composers, and to bring young himself, who also contributed to the libretto, it: José should have married the innocent Although Bizet died in June 1875, only French singers into the limelight. sometimes replacing the librettists’ work with Micaëla. Nowadays different views have been months after the premiere, there can be little Last but not least there is the Opéra- verses of his own. The first part of the put forward. Some might even see Micaëla as a doubt that he would later have adapted the Comique: the name of the building – not Habanera (‘Havanaise’) is his: a surviving pious prude. And could not Carmen be seen piece himself for the Paris Opéra (and forgetting that different opera houses attract manuscript shows that he replaced Halévy’s as the liberated woman who has taken charge elsewhere) where, contrary to practice at the different sorts of operagoers. In a nutshell, rather conventional opening with his own first of her own destiny, free to choose her own Opéra-Comique, spoken dialogue was not while the Opéra was for the very posh – the verse, asking Halévy to do the rest and to fit sexual partners and to discard them as she allowed, and the music of all had to aristocracy and the international set – the his verse to the popular song on which this wants? Furthermore, she sticks unswervingly run continuously. After Bizet’s death, his Opéra-Comique was for the bourgeoisie. In number was modelled. Bizet also had a hand to the gipsy morality of her clan, where debts colleague Ernest Guiraud adapted the piece in the case of Carmen, the audience for whom it in the card scene. But most notable in the are always repaid, where love must come first, the customary way: compressing the spoken was written was a major shaping force. shaping of the opera was the intervention of and where it is fine for the rich to be robbed dialogue into . It was in this version There were several Opéra-Comiques in this the directorate of the Opéra-Comique itself. by the poor. that the opera was usually given during the fourth sense; the latest, the third Salle Favart, The two directors, de Leuven and du Locle, To get to the heart of the opera, it is useful to twentieth century. is still there in Paris for all to visit. Carmen had two main concerns. First, recent criticism

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of another opera had chastised the company Carmen, where the questions are spoken, and As for complying with the statutes of the exactly as described by Mérimée’, and passages for not adhering to the rule that spectacles the answers merely sung ‘tra la las’? Then there company, the opera introduced two display- of the spoken dialogue are closely modelled on should include substantial spoken material. is the dance with which Carmen rewards José roles for the in the characters of ones in the short story. Many other features of Second, the directors wanted works which for setting her free, her castanets contrasting Frasquita and Mercédès. In various the libretto are freely adapted – Lillas Pastia’s would please their bourgeois clientele and fill with the rising strains of the bugles off-stage. performances the parts for these two (who tavern, for example – though the idea of the several boxes which were habitually taken These are just two examples of Bizet’s usually vie with each other musically, one part frequent dancing is found also in Mérimée. by families eager to introduce their incredible imaginative fertility, and we still however lying higher than the other) were Don José is considerably toned down, to marriageable offspring. De Leuven was marvel at it. changed around. Sometimes the show-off the point, perhaps, where his strength in the horrified at the idea of an opera based on the The way Bizet controls the flow between notes would be shared, no doubt depending opera is his weakness. In the short story he was story of Carmen. ‘Isn’t she killed by her lover?’ speech and song is also particularly subtle. The not only on the of the voices, but a bandit, not a soldier, and much more ready he exclaimed to Halévy: opposite of a mere ‘number opera’ with also on whether the Opéra-Comique wanted to use his gun. In the opera he is a torn man, And isn’t it set among thieves, gipsies and cigar- dialogue interspersed, Carmen has a real sense to display new talent in the company to its characterised by indecision. girls!… That, at the Opéra-Comique!… the of progression, an inexorable drive towards its best advantage. The roles of the several soldiers Much of the rest is the librettists’ invention, family theatre!… the theatre where marriages are terrible end. This is achieved in several ways. (there was originally one more, called Andrès) although a considerable amount of detail is arranged!… Every night we have five or six boxes Things start relatively lightly, with quite a gave a chance for young and basses; and taken from reality – Meilhac and Halévy were reserved for that… The public will desert us… few nudges and winks in the spoken dialogue there were several opportunities for dancers, well known for their ‘slice of life’ approach. It’s impossible! and some double-entendre (José’s polishing of poorly paid by the company but often Not only is the character of Escamillo added, The outcome was that composer and his priming-pin, for example, and the obscene supported by rich, elderly male patrons who but so are all the details of the corrida, the librettists agreed to soften the plot by insults exchanged between Carmen and waited for them after the show. procession to the bullfight being modelled on introducing Micaëla: a nice catholic family girl Manuela about donkeys and broomsticks The root source of the opera is a short story what actually used to happen. Similarly, the with whom the audience could identify. The being needed to satisfy each other). There is by the French writer Prosper Mérimée, written whole idea of pitting the tobacco factory librettists also invented an bass role, that of also some decorative and delightful local after a visit to Spain in 1830, published in against the guard room – juxtaposing centres Escamillo the toreador. Nowadays we can hardly colour, especially in the three dance-songs 1842 and subsequently expanded to include a of disorder and of order respectively – is a imagine the opera without these two figures. through which Carmen introduces herself to fourth chapter entirely about gipsies. The gambit which neatly pits two essential themes Both the spoken dialogue and the texts for the audience. Also contributing to the forward Carmen of the opera absorbs many details of the opera against each other. Seville did the sung numbers are full of riches. Who else thrust is the gradual adoption of continuous from Mérimée’s story, although Carmen’s indeed have a celebrated tobacco factory (now but Bizet and his collaborators would have music in the last act where we move dizzily husband, a one-eyed murderer, is ignored. On part of the university) and it did employ only exploited the mix of speech and song so between snatches of the sounds of the one occasion, the libretto tells us that women, often reformed prostitutes and young brilliantly as in Zuniga’s interrogation of bullfight and José and Carmen’s wrangling. Carmen’s ‘costume and entrance [should be] mothers with illegitimate children. Is the

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presence of the children in the opera perhaps a How touchingly, on the other hand, Bizet make the opera a success. Consequently, he study score for interested students and sign that the librettists knew of the factory and captures Micaëla’s seventeen-year-old tampered with the work in rehearsal, and operagoers. An orchestral score will follow. its ways – if not directly, then perhaps through innocence, tingeing her music with the others tampered with it afterwards, sometimes the illustrations by Gustave Doré who had religiosity of harps. And again, how brilliantly not to its detriment. For example, Carmen’s © 2003 Richard Langham Smith brought back to Paris an extensive portfolio of he gives us the carefree, machismo swagger of interrogation number – her ‘tra la las’ – is work he had done inside the factory? Escamillo the toreador! However much of a somewhat overworked in the first edition, and Synopsis Apart from Mérimée, many other writers of melting-pot the opera is, it was launched into it was, in my opinion, compressed to its the nineteenth century were fascinated by existence by three geniuses of stagecraft, and benefit during subsequent performances. COMPACT DISC ONE gipsy life and the gipsy character. One study continues to exert an unparalleled power over I decided that I would base the edition largely remarked on several features explored in the performers, producers and audiences alike. on what was done in the early run of Opéra- 1 The Prelude is characterised by busy strings, opera: the refusal of gipsies to budge under Comique performances, and in this respect have whistling piccolos and vamping brass. It sounds threat or torture; their disrespect for Western A note on the edition leaned heavily on the orchestral parts (because like outdoor music, a military band perhaps. A authority; their love of tobacco and strong My primary job in preparing an edition for they are the best source for what was actually second main theme, accompanied by brass drink; their love of sweets and snacks rather the current recording was to produce a clean, played in the pit) and the first published vocal ‘oompahs’, turns out to be that of the toreador than ‘proper meals’; and, of course, the clear text for the musicians to use, based on score (because that is what the singers sang Escamillo. After a dramatic pause comes music wantonness of their women. the Opéra-Comique version. David Parry from). There is also an invaluable manuscript which is much darker. Tremolando strings Gipsies were also reputed to have great translated the libretto and retained the essence score which was used in performances at the accompany a twisting motive which will recur musical skills, even if these were of an of the spoken sections: essential for a full Opéra-Comique for many years until a printed several times. Is this Carmen’s theme, imitating ‘extempore’ nature. But here lay Bizet’s genius. understanding of what Carmen is about. It orchestral score was published. a gipsy scale? Or is it fate? In Carmen’s Habanera, Seguedilla and Gipsy soon became apparent that the main problem The edition, available on hire from Peters Song (‘Chanson Bohème’) the composer for was to decide which Opéra-Comique version Edition Ltd, was made with the help of the Act I the first time introduced pastiche of real gipsy to use, for there were many. Recent criteria for musicologist Clair Rowden, whose assistance 2 A street scene in Seville. On one side of the music into the , trance-inducing editing have leaned heavily on what is often was kindly supported by the Peter Moores plaza is the tobacco factory, on the other the pieces based on rhythm and repetition rather referred to as ‘composer-intentions’. There is Foundation. I am currently preparing a vocal guardroom. Dragoons sit smoking, watching than on sophisticated harmony. These songs one surviving score mostly in Bizet’s hand. But score for the same publishers, in English and the crowd. 3 A young woman catches the eye introduce Carmen not only by means of words to have followed this slavishly would have led French, which will detail many variants and of the soldiers. It is Micaëla, looking for Don and music but through the visual display of me down a false trail, and quite possibly not include substantial descriptive and illustrative José. The sergeant Moralès tells her that José raunchy dance and seductive gestures, the have represented Bizet’s intentions anyway. material on the early performances. This will will come on duty later, and invites her into music acutely contrasting with that of Micaëla. After all, he surely had one main intention: to be not only a performing edition but also a the guardroom, an offer she politely declines.

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4 – 6 A fanfare announces the changing bodice a sprig of cassia flowers, tosses it to she has only one answer: ‘Tra la la la la la la 26 Zuniga asks the girls to go to the theatre of the guard, followed by the fifes and bugles him, and runs off as the cigarette girls return la.’ Zuniga orders José to tie her hands and with him and the other soldiers, but they refuse. of a military march. Preceding the soldiers are to work. 13 José inhales the heady perfume of take her to prison. 27 A chorus signals the imminent arrival of a group of street urchins, imitating their step. the flower. 21 José and Carmen strike up a dialogue Escamillo. 28 – 29 The officers order drinks Another fanfare is heard as the guard changes. Micaëla returns, and José recognises and before he leads her off. After unsuccessful to welcome him. 30 He sings his celebrated 7 José and the lieutenant Zuniga discuss the welcomes her; she is from his village. As she attempts to get José on her side, she challenges aria, mingling descriptions of the conquest of tobacco factory and the girls who work there. tells José that it is his mother who has sent him to acknowledge that he loves her and will women with ones of the bullfight. 8 The bell rings in the factory and the her, 14 he breaks into song: ‘Give me news of do everything she says. He denies this, but is 31 – 32 Escamillo shows an interest in square fills with young men. 9 The girls my mother!’ Micaëla has brought him money, obviously smitten. 22 She launches into her Carmen, but she rebuffs him. 33 The gipsies come pouring out, smoking cigarettes, and a letter and something else, much more second dance-song, the Seguedilla. The words plan a smuggling operation, led by Dancaïre singing of the forgetfulness which tobacco precious…; ‘This something… please explain’, tell of a bar on the ramparts, run by a certain and Remendado. 34 – 35 In a the induces, and of how lovers’ vows are nothing asks José. 15 The music turns quasi-religious, Lillas Pastia. Carmen says she is in love with a men entreat Carmen and her friends to help. but a puff of smoke. The young men entreat with harps and strings accompanying Micaëla corporal. José understands that she is referring Carmen, to everyone’s surprise, confesses to them not to be so cold. as she tells José that she has brought him a kiss to him and asks whether she will love him if being in love. The men remind her that her 10 The soldiers notice that Carmen has not from his mother. José is ecstatic. 16 He he releases her. They’ll drink Manzanilla and gipsy duty must come first. Carmen protests come out. The sinister motive of the Prelude is imagines his mother’s face, and he and Micaëla dance Seguedillas, she promises. Tra la la la la. that, for her, love must take the lead. 36 Don heard again, in a high register, and Carmen join in a as memories flood back. José José loosens the rope round her wrists. José is heard singing in the distance. Carmen appears; ‘Tell us when you might fall in love’, wonders whether the kiss was meant to drive 23 The act ends with Carmen singing a is pleased to see him and repays her debt to ask the young men. Carmen teases them: away imminent danger, meaning Carmen. snatch of her Habanera straight into Zuniga’s him by ordering food and Manzanilla. certainly not today. 11 Then comes her first Micaëla is puzzled, but José changes the face, and pretending to push José off the dance-song: the celebrated Habanera. ‘Love’s a subject. 17 José reads his mother’s letter which bridge as she escapes. COMPACT DISC TWO bird’, she sings, which ‘no man on earth has advises him to marry Micaëla. learned to tame’. The chorus echoes her words. 18 – 19 A commotion is heard and the 24 Entr’acte 1 She declares that she will dance for him. 12 Suddenly the mood darkens as the cigarette girls call for help. Carmen has been 2 During her dance the sound of bugles is ominous motive recurs, building up to the insulted and someone has been attacked. Act II heard far away: José’s company is on the move. moment when Carmen addresses José for the Zuniga orders José to go and investigate. The Lillas Pastia’s tavern. 25 Gipsies mingle with Carmen finds it a fitting accompaniment to first time, asking him what he is doing. He girls are divided as to who started the fracas. officers, and Carmen dances her third dance- her song but José feels the need to return to simply replies that he is busy, but continues Carmen says she has been provoked and song together with Frasquita and Mercédès, his company. 3 They argue. Carmen can only polishing his priming-pin; she takes from her 20 Zuniga interrogates her. To every question her gipsy friends. The dance rises to a frenzy. regard José’s wish to return as a denial of his

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love. 4 His last plea is the aria in which he ambush and instruct Carmen and the other 24 Entr’acte The Dublin-born sings of the flower she threw to him. two to seduce the customs men. José is mezzo-soprano Patricia 5 Carmen tells him that if the two of them jealous. Act IV Bardon studied with are to continue, they must flee to distant 16 Micaëla appears with a guide. 17 In her The entr’acte, in a Spanish style, leads us to Dr Veronica Dunne at lands. A knock at the door is heard, 6 Zuniga aria, ‘I say that there’s nothing to fear’, she the streets around the bull-ring. 25 Merchants the College of Music in enters and sees José who is now, in the army’s confesses her love for José. 18 Retreating out sell fans, ice cream, oranges and cigarettes. Dublin, and came to eyes, a deserter. 7 – 8 The gipsies overpower of sight, she watches José as Escamillo arrives. Zuniga appears with Frasquita and Mercédès. prominence as the Zuniga and offer José a way out: he must join 19 – 20 Escamillo confesses his love for 26 The opening music of the Prelude is heard youngest ever prize their band. Carmen unaware that José still considers once more, now with a chorus announcing winner in the Cardiff himself to be her lover. José forces a fight the arrival of the procession. At last Escamillo Singer of the World 9 Entr’acte between them (which he quickly loses) but appears, with Carmen at his side. 27 A duet Competition. A leading Escamillo refuses to take his life. José insists develops in which he woos her. She declares international operatic performer, she has sung Act III that they fight on, and when Escamillo slips, her love for him amidst the hurly-burly of the the title roles in Tancredi at Teatro la Fenice in A wild place in the mountains. 10 The gipsies José is prevented from killing him by Carmen parade. Carmen’s friends advise her of danger: , Carmen at the Hamburg Staatsoper, are there with a band of smugglers, singing as 21 who rushes in. Escamillo thanks her and José has been seen nearby. La Cenerentola at Théâtre de la Monnaie, they march. 11 In a tense dialogue José tells challenges José to a ‘decider’. 22 Remendado 28 José finally emerges, begging Carmen , Tamerlano in Beaune and Orlando in Carmen that he is near his mother’s house. She discovers the hiding Micaëla. She takes up the to revert to her former life with him. He asks if New York, Paris, Lyon and Antwerp. She has taunts him by suggesting that he really belongs strains of her beautiful first aria, with harps, she still loves him. ‘No,’ she replies, ‘I don’t love also appeared as Penelope (Il ritorno d’Ulisse in there, with his mother. ‘Are you the devil, once more reminding José of his mother, now you now.’ 29 The bullfight chorus is heard patria) and Anna () at the Maggio Carmen?’ he asks. ‘Yes,’ she replies, ‘I’ve told sad and lonely. The gipsies join Micaëla in again: Escamillo has triumphed and Carmen Musicale in Florence, Arsace (Semiramide) at you already.’ pressing José to return home: ‘You will soon now confesses her love for him. She throws away Teatro la Fenice, Cornelia (Giulio Cesare) and 12 Frasquita and Mercédès, who are reading be lost forever… unless you leave now’, they the ring José once gave her. This is too much for Amastris (Serse) at the Munich Staatsoper and their fortunes in a game of cards, are having assure him. After José protests that he cannot him. The music veers between the bullfight in Dresden, Ursule (Béatrice et Bénédict) in some luck: one finds a good lover and the leave Carmen, 23 Micaëla tells him that his music and the toreador’s aria. José strikes her Amsterdam, and Smeton (Anna Bolena) in San other a rich one. But Carmen’s cards spell mother is dying. This convinces him that he fatally. As she dies Escamillo emerges at the gates Francisco. She has sung frequently at Opera death: ‘first for me, and then for him.’ The must leave. But his parting words remind to the arena. ‘I’m the one who killed her!’ cries North, , Scottish Opera sinister motive is heard again. 13 She sings Carmen that they’ll meet again. Escamillo José, ‘Ah, Carmen, my beloved!’ and Glyndebourne Festival Opera, and at The her first real aria, musing on the truth told prepares for the bullfight by singing snatches Royal Opera, Covent Garden has performed by the cards. 14 – 15 The gipsies plan their of his aria. © 2003 Richard Langham Smith roles in Mosè in Egitto, Guillaume Tell,

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Rigoletto, Mefistofele and La fanciulla del sung with all the major British opera Julian Gavin was Orchestra; Pollione (Norma) in Lucerne; West. companies, as well as with New Israeli Opera born and educated in Pinkerton for Deutsche Oper, Berlin; Roméo She has sung in concert and recital and The Metropolitan Opera, New York and , Australia. (Roméo et Juliette); Don José for Opera throughout Europe, in the United States and at the Bregenz Festival. Her comprehensive After completing a Australia; concert performances of Rodolfo in Japan, and appeared with conductors such as repertoire includes Susanna (Le nozze di postgraduate Luisa Miller; Arrigo in La battaglia di Legnano; Zubin Mehta, Bernard Haitink, Claudio Figaro), Donna Elvira (), course, and Ishmaele in conducted by Abbado, and Sir Charles Marzelline (Fidelio), Adina (The Elixir of he moved to England Sir Edward Downes. Mackerras. She was also invited to sing at Love), Oscar (A Masked Ball ), Mimì and studied at the Recordings include Godvino (), Buckingham Palace during a concert celebrating (La bohème), Anne Trulove (The Rake’s National Opera , Verdi’s Requiem and the fiftieth birthday of HRH Prince Charles. Progress) and the title role in The Cunning Studio. He made his , Kodály’s Psalmus Hungaricus, and She appears on the Chandos/Peter Moores Little Vixen. She has sung Donna Elvira for British operatic debut Gounod’s Roméo et Juliette, besides for Foundation recording of Eugene Onegin. Glyndebourne Touring Opera, for which she as Alvaro in ’s Chandos/Peter Moores Foundation. He has also created the role of Tina in Jonathan production of The Force of Destiny followed by also appeared in a six-part series for BBC Mary Plazas, Dove’s Flight, repeating it with Glyndebourne Laca in Opera North’s Jenuofa. Television, Top Score, about the making of an soprano, studied at Festival Opera. Julian Gavin’s engagements with the ENO opera based on La bohème. the Royal Northern Mary Plazas has given recitals and concerts, include Pinkerton (Madam Butterfly), College of Music in including solo recitals at the Wigmore Hall, Cavaradossi (), the Duke (Rigoletto), and The baritone Garry Manchester with Purcell Room and the Karajan Centre in the title roles in new productions of Ernani Magee, a graduate of

Ava June. Winner Vienna, and performed at many festivals. Her and The Tales of Hoffmann. In 1996 Julian the Guildhall School Batten John of several awards, concert repertoire includes Haydn’s Gavin made his debut at The Royal Opera, of Music and Drama including the 1991 Die Schöpfung, Tippett’s A Child of Our Time, Covent Garden in the title role of , and the National Kathleen Ferrier Schumann’s Das Paradies und die Peri and conducted by Bernard Haitink. He repeated Opera Studio, won Memorial Canteloube’s Songs of the Auvergne. She the role at the 1998 Edinburgh Festival. Other First Prize in the Scholarship, she also appears in Mercadante’s Emma d’Antiochia and past engagements include Alfredo (La traviata) Kathleen Ferrier received major scholarships from the Peter Pacini’s Maria, regina d’Inghilterra on Opera for Den Norske Opera, Oslo, Award in 1995 and Moores Foundation and the Countess of Rara and for Chandos/Peter Moores and ENO; Rodolfo (La bohème), Laca, Carlo the following year Munster Musical Trust. She made her operatic Foundation has recorded the roles of Zerlina (Giovanna d’Arco) and the title role in Don was a Prize winner in debut in 1992 with English National Opera as (Don Giovanni), Adina, Marguerite (Faust) Carlos, all for Opera North; Des Grieux the International Belvedere Competition in the Heavenly Voice in Don Carlos. She has and Liù (Turandot). ( Lescaut) with the Israel Philharmonic Vienna; he is currently studying with Robert

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Dean. Among the many roles he has Winner of the The soprano Sally The tenor Peter performed are Guglielmo (Così fan tutte), Golden Voice Harrison studied at Wedd studied at the Papageno (Die Zauberflöte), Dr Malatesta of Ireland, she the Royal Northern Guildhall School of (Don Pasquale), Figaro (The Barber of Seville), has represented College of Music, Music and Drama Marcello and Schaunard (La bohème), her country in supported by a with William Sharpless (Madama Butterfly) and Harry the Cardiff Peter Moores McAlpine, and at the Heegan (The Silver Tassie) besides the title Singer of the Foundation National Opera roles in Don Giovanni and Eugene Onegin. He World Scholarship, and Studio where he has performed with English National Opera, Competition. In Britain she has performed subsequently at the received support from Opera North, The Royal Opera, Covent with The Royal Opera, Covent Garden, National Opera the Peter Moores Garden, Welsh National Opera, Flanders English National Opera, Opera North, Opera Studio. With Foundation. He has Opera, Opéra de Monte-Carlo, Théâtre de la Northern Ireland, Glyndebourne Touring English National Opera she has sung Despina sung Cascada (Die lustige Witwe) at The Royal Monnaie in Brussels, The Netherlands Opera, Opera and Garsington Opera. Among her (Così fan tutte), Papagena and Pamina Opera, Covent Garden, Federico (L’Arlesiana) Deutsche Oper, Berlin and Florida Grand many roles are Blonde (Die Entführung aus (The Magic Flute), Giannetta (The Elixir of and Pluto (Orphée aux enfers) for Opera Opera. He has appeared in concert and recital dem Serail ), Cherubino and Susanna Love), Lidka (Smetana’s The Two Widows), Holland Park, Don José and Tamino at venues and festivals both in Britain and (), Papagena (The Magic Frasquita, Chloë (The Queen of Spades) and (Die Zauberflöte) at Welsh National Opera, his abroad in a repertoire that includes Bach’s Flute), Norina (Don Pasquale), Adina (L’elisir Yum Yum (The Mikado), and she appeared as operatic repertoire also including Edgardo Magnificat and St John Passion, Brahms’s d’amore), Ninetta (The Thieving Magpie), Musetta (La bohème) and Polly Peachum (Lucia di Lammermoor), Rodolfo (La bohème), Ein deutsches Requiem, Rachmaninov’s Spring Elvira (The Italian Girl in Algiers), Fiorilla (The Threepenny Opera) at Scottish Opera and Eisenstein (Die Fledermaus) and Lysander cantata, Kurt Weill’s Das Berliner Requiem, (Il turco in Italia), Marzelline (Fidelio), as the Countess (The Marriage of Figaro) at the (A Midsummer Night’s Dream) besides the title Bernstein’s West Side Story and Britten’s War Micaëla, Pousette (Manon), Nanetta (Falstaff ), Opera Theatre Company, Dublin. Other role in Les Contes d’Hoffmann. From 1999 to Requiem. His discography includes, for Lisette (La rondine) and Anne Trulove notable British performances have included 2001 he was a Company Principal with The Chandos/Peter Moores Foundation, the (The Rake’s Progress). She has performed Poppea (Handel’s Agrippina) at the Buxton Royal Opera. title role in Don Giovanni and Valentin in at the Royal Albert Hall, the Barbican Festival, Galatea (Acis and Galatea) at the In concert he has performed a wide Faust. Centre and the Royal Festival Hall, at the English Bach Festival and Gilda (Rigoletto) at repertoire ranging from Bach’s St John Passion Batignano, Aix-en-Provence and Buxton the Bath and Wessex Opera. On the concert and Handel’s Messiah, through the Requiems Born in Cork, the soprano Mary Hegarty festivals, at the Flanders Opera, and sung platform she has sung Handel’s Esther and of Mozart and Verdi, the Petite Messe solennelle studied at the Cork School of Music and at Messiah with the Orchestre nationale de Messiah, Mozart’s Mass in C minor and by Rossini and Mendelssohn’s Elijah, to the in London. Belgique. Exsultate, jubilate and Orff’s Carmina burana. Janácˇek’s Glagolitic Mass and Britten’s

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Les Illuminations and Serenade for Tenor, Horn and oratorio soloist in the USA, France, Schaunard (La bohème). His festival Opera, Covent Garden in performances of and Strings. He appears on the Chandos/Peter Germany, Spain and the Middle East, as well performances have included Guglielmo (Così Pfitzner’s Palestrina, and with English National Moores Foundation recordings of Lucia of as at all the major London venues. He has fan tutte) at the Aix-en-Provence Festival, Mars Opera as Baron Douphol in La traviata. Abroad Lammermoor, Ernani and Turandot. appeared with the Gabrieli Consort and Paul and Euro in Cesti’s Il pomo d’oro at the he has performed at the Opéra national de Paris- McCreesh at festivals throughout Europe. His Batignano Festival, Schaunard at the Bregenz Bastille and Opéra de Nantes. His concert Mark Le Brocq held a recordings include and Turandot for Festival and Grimbald and Aeolos in Purcell’s repertoire covers all the major oratorio roles, as choral scholarship to Chandos/Peter Moores Foundation, Samson, King Arthur at the Kings Lynn Festival in well as twentieth-century works such as Berio’s St Catharine’s College, Judas Maccabaeus, Purcell’s Hail Bright Cecilia, Norfolk. His oratorio repertoire includes the Sinfonia, performed at the Boulez Festival in Cambridge where Handel’s Utrecht Te Deum and Boyce’s I Was Requiems by Mozart and Fauré, Haydn’s Tokyo in 1995. he read English. He Glad. Die Schöpfung and Bach’s Mass in B minor. won an Entrance Geoffrey Mitchell’s singing career has Scholarship to the The baritone Toby Nicholas Garrett, encompassed a remarkably wide repertoire Royal Academy of Stafford-Allen bass-baritone, studied from early to contemporary music and has Music to study with studied under Robert at Trinity College of taken him to Scandinavia, Germany, the Kenneth Bowen and Alderson at the Royal Music and is the former Czechoslovakia, Canada and later continued his Northern College of recipient of a Wolfson Australasia. Early conducting experience with studies at the National Opera Studio. Music, where he sang Foundation Award. the BBC led to a wider involvement with his He was a Company Principal with English Figaro (Le nozze He has sung Sourin own singers and in turn to the establishment National Opera, where his many roles di Figaro), the title (The Queen of Spades) of the Geoffrey Mitchell Choir. Early included Tamino (The Magic Flute), Paris role in the baritone for Scottish Opera, recordings resulted in the Choir’s long-term (King Priam), Count Almaviva (The Barber of version of Werther, Sparafucile and Count involvement with Opera Rara for which it has Seville), Narraboth (Salome), Don Ottavio, and the Foreman Monterone (Rigoletto), made over thirty recordings. The Choir is Monostatos, Rodriguez (Massenet’s Don of the Mill ( Jenu˚fa) among others. On leaving Figaro (Le nozze di Figaro) and Nourabad enjoying a growing reputation with further Quixote), Odoardo (Ariodante), Doctor Maxwell the College he joined English National Opera (Les Pêcheurs de perles) with English Touring work from the BBC and international record (The Silver Tassie) and Siward (A Better Place). and with this and other British companies Opera, and Escamillo, Don Basilio (Il barbiere companies. For Chandos the Geoffrey Guest appearances have included roles for Opera has sung Valletto (L’incoronazione di Poppea), di Siviglia) and the title role of Don Giovanni at Mitchell Choir has participated in numerous Northern Ireland, Garsington Opera and the Henry (The Fairy Queen), Papageno Opera Holland Park. Recently he sang Escamillo recordings in the acclaimed Aix-en-Provence Festival. (Die Zauberflöte), Fiorello (The Barber of and Dancaïre in Opera North’s new production series sponsored by the Peter Moores Mark Le Brocq has performed as a recital Seville), Baron Douphol (La traviata) and of Carmen. He made his debut with The Royal Foundation.

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The New London Children’s Choir was Associated most closely with the Orchestra L’assedio di Calais, Rosmonda d’Inghilterra and regularly with the Philharmonia and London launched by its Musical Director Ronald Corp have been Otto Klemperer (first Principal Maria de Rudenz, Meyerbeer’s Dinorah, Mayr’s Philharmonic . In 1996 he made his in 1991 with the aim of introducing children Conductor), Lorin Maazel, Riccardo Muti, Medea in Corinto, Mercadante’s Orazi e debut at the Glyndebourne Festival to the challenges and fun of singing and Giuseppe Sinopoli, , Curiazi, Pacini’s Maria, regina d’Inghilterra conducting Così fan tutte, following it in 1998 performing all types of music. Since then the Sir Andrew Davis, Vladimir Ashkenazy and and Rossini’s Otello). The Orchestra has with the world premiere of Jonathan Dove’s Choir has appeared in all the major London Esa-Pekka Salonen. Under current Principal recorded numerous discs for Chandos Flight. concert halls, worked with the UK’s finest Conductor Christoph von Dohnányi and with including, in the Opera in English series He is a frequent visitor to Spain where he symphony orchestras and conductors, Leonard Slatkin as Principal Guest Conductor sponsored by the Peter Moores Foundation, has given concerts with most of the major collaborated with opera companies in the UK the Orchestra has consolidated its central Don Giovanni, The Elixir of Love, Lucia of Spanish orchestras. He conducted the Spanish and abroad, made dozens of recordings and position in British musical life, not only in Lammermoor, Faust, , La bohème, Madam premiere of in Madrid and in broadcasts, and been invited to appear at London where it is Resident Orchestra at the Butterfly, Turandot, the award-winning Tosca 1996 the first Spanish production of many major festivals. Royal Festival Hall, but also in the wider and solo recital albums of operatic arias with The Rake’s Progress. He has appeared in The extensive discography of the New community through regional residencies. , Diana Montague, Dennis O’Neill, Germany, Switzerland, and The Netherlands, London Children’s Choir encompasses The Orchestra has received several major , Yvonne Kenny and John at the Pesaro Festival in Italy, the Hong Kong recordings of Tchaikovsky’s Nutcracker, awards and won critical acclaim for its vitality Tomlinson. International Festival, in Japan with a tour of Shostakovich’s Song of the Forests, Prokofiev’s and unique warmth of sound. It has been Carmen, and in Mexico with the UNAM Ivan the Terrible, Rutland Boughton’s praised as well for its innovative programming, David Parry studied with Sergiu Celibidache Symphony Orchestra. Recent new productions Bethlehem, Vaughan Williams’s Hugh the at the heart of which is a commitment to and began his career as Sir John Pritchard’s he has conducted include Fidelio at the New Drover, Mahler’s Symphony No. 3, Holst’s performing and commissioning new music by assistant. He made his debut with English Zealand Festival, Lucia di Lammermoor at New The Planets, and Britten’s St Nicolas and the world’s leading living composers, among Music Theatre, then became a staff conductor Israeli Opera and Don Giovanni at Staatsoper A Midsummer Night’s Dream. It has also made them its current Visiting Composer, James at Städtische Bühnen, Dortmund and at Hannover. recordings for film and premiered over thirty MacMillan. Opera North. He was Music Director of His work in the recording studio includes new works. The Orchestra tours frequently abroad and Opera 80 from 1983 to 1987 and since 1992 the BBC Television production of Marschner’s is the world’s most recorded symphony has been the founding Music Director of Der Vampyr and twenty-eight complete opera From auspicious beginnings in 1945, when it orchestra with well over 1000 releases to its Almeida Opera. recordings under the sponsorship of the Peter was established by Walter Legge primarily as a credit. Among these are, for Opera Rara, He works extensively in both opera and Moores Foundation. Among these are recording orchestra, the Philharmonia several discs of operatic arias as well as eleven concert, nationally and internationally. He has numerous discs for the Opera Rara label Orchestra went on to attract some of the complete operas (Donizetti’s Ugo, conte di conducted several productions at English which have won several awards, including the twentieth century’s greatest conductors. Parigi, Ne m’oubliez pas, Emilia di Liverpool, National Opera and Opera North and appears Belgian Prix Cecilia for Donizetti’s Rosmonda

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d’Inghilterra. For Chandos he has conducted a series of recitals of operatic arias – with Bruce

Ford, Diana Montague, Dennis O’Neill, Cooper Bill Alastair Miles, Yvonne Kenny, John London AKG Tomlinson, Della Jones and Andrew Shore – as well as Don Giovanni, Don Pasquale, The Elixir of Love, Lucia of Lammermoor, Ernani, Il trovatore, Aida, Faust, Cavalleria rusticana, , La bohème, Turandot, the award-winning Tosca and highlights from Der Rosenkavalier, all in association with the Peter Moores Foundation.

Patricia Bardon Célestine Galli-Marié as Carmen in in the title role Act II of the original production, in Scottish Opera’s 1875; coloured lithograph by production Antonin-Marie Chantinière of Carmen

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Julian Gavin Garry Magee CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 34

Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, and the late Geraint Evans amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people, to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young, and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertoire sung in English translation; the recording By the end of his third year at the Academy, Moores had produced the Vienna premiere of or staging of rare from the era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo Opera House, Naples, the Geneva Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his father asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at master-classes or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received publication of scores, and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford in 1975, and was made these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, for newcomers especially, and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the Opera in English series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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gesprochenen Dialog in Rezitativen noch in Paris zu sehen; Carmen entstand für Bizet: Carmen komprimierte. In dieser Fassung wurde die den zweiten Salle Favart, der im Mai 1887 Oper während des zwanzigsten Jahrhunderts einem Großbrand zum Opfer fiel. Der Punkt Mit über achtzig Verfilmungen und unzähligen Um zum Kern der Oper zu kommen, sollte normalerweise gegeben. ist wichtig, weil bestimmte Opernhäuser sehr Adaptionen ist Bizets Carmen wohl die man etwas mehr über seine bunt Seit einiger Zeit wendet man sich jedoch unterschiedliche Opernbesucher anziehen. populärste Oper aller Zeiten. Sie gehört zu zusammengewürfelten Elemente und die wieder verstärkt dem Format der “opéra Während die Opéra mit ihrem jenen Werken, die mit jeder Neubearbeitung beiden Hauptansätze zur Inszenierung des comique” zu. Diesen Begriff sollte man aristokratischen und international orientierten immer mehr von sich preisgeben. Die stärkste Werkes wissen. Die Uraufführung fand im vielleicht etwas näher erläutern, da er vier Publikum einen gesellschaftlichen Faszination geht natürlich von der Gestalt der März 1875 an der Opéra-Comique in Paris unterschiedliche Bedeutungen hat. Die “opéra Exklusivitätsanspruch erhob, wandte sich die Zigeunerheldin aus. Carmen scheint mit jeder statt und folgte der stilistischen Konvention comique” kann eine “komische Oper” sein, Opéra-Comique an die Bourgeoisie. Bei der Interpretin eine neue Persönlichkeit zu des Hauses, die seinerzeit eine Verbindung von doch auf Carmen trifft dies gewiss nicht zu. Konzipierung von Carmen war das gewinnen und problemlos mit der Zeit zu Musiknummern durch gesprochene Dialoge Die zweite Bedeutung ist, wie erwähnt, die Zielpublikum ein entscheidender, prägender gehen. Bis weit in das zwanzigste Jahrhundert verlangte. Im Laufe der Proben, denen der eines , also eigentlich eines Faktor. hinein betrachtete man sie als üble Verführerin, Komponist beiwohnte, wurden sowohl der Sprechstücks mit Musikeinlagen, wobei Das Werk entsprach also der die José in ein verhängnisvolles Schicksal treibt. Dialog als auch die Musik gekürzt – eine “comique” auf das französische Wort für Begriffsbestimmung in dreifacher Weise: Es Für alle stand fest: José hätte die unschuldige Tradition, der man bei der Opéra-Comique- Schauspieler (“comédien”) zurückzuführen ist. entstand als , es erfüllte die Micaëla heiraten sollen. Inzwischen haben sich Version seitdem stets gefolgt ist, wenn auch in Die Opéra-Comique war aber auch ein Inszenierungsansprüche des Hauses, und es andere Perspektiven aufgetan. Macht Micaëla der vorliegenden Aufnahme nur in Ensemble, das den verschiedensten Zwängen wurde in der Opéra-Comique uraufgeführt. nicht einen scheinheilig prüden Eindruck? Ist bescheidenem Maße. unterworfen war – neben der bereits Der Triumphzug von Carmen ist in hohem Carmen nicht vielleicht eine emanzipierte Frau, Bizet starb überraschend im Juni 1875, drei erwähnten Inszenierungsform bestanden Maße dem ausgezeichneten Libretto einer die über ihr eigenes Schicksal bestimmt, die Monate nach der Premiere, sonst hätte er weitere Auflagen darin, neue Werke eingespielten Partnerschaft zu verdanken: ihre sexuellen Beziehungen selbst wählen und sicherlich eigenhändig das Werk für die Pariser französischer Komponisten zu fördern und Henri Meilhac war weitgehend für die nach Belieben beenden kann? Auch zeigt sie Opéra (und andere Häuser), wo im Gegensatz französische Nachwuchssänger hervortreten zu Handlung und den gesprochenen Dialog ein stark ausgeprägtes Moralbewusstsein im zur Opéra-Comique kein gesprochener Dialog lassen. verantwortlich, während Ludovic Halévy die Rahmens ihres Clans, wo Schulden immer geduldet wurde und alle Opern Nicht zu vergessen ist auch die Opéra- Lyrik der Lieder und Arien schuf. Die Idee für abgerechnet werden, wo die Liebe immer durchkomponiert sein mussten, einer Comique: die Bühne selbst. Als Bauwerk Carmen stammte allerdings von Bizet selbst, Vorrang haben muss und wo es Neubearbeitung unterzogen. Nach dem Tode existierte die Opéra-Comique über die Jahre der auch das Libretto mitverfasste und häufig selbstverständlich ist, dass die Reichen von den Bizets nahm sein Kollege Ernest Guiraud die hinweg in verschiedener Form. Das letzte die Arbeit der Librettisten durch eigene Verse Armen bestohlen werden. üblichen Anpassungen vor, indem er den Gebäude, der dritte Salle Favart, ist heute ersetzte. Der erste Teil der Habanera

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(“Havanaise”) stammt von ihm; ein uns Comique! … dem Familientheater! … dem Auch die Art und Weise, wie Bizet das musikalisch miteinander wetteifern und erhaltenes Manuskript zeigt, dass er Halévys Theater, wo Ehen arrangiert werden! … Dafür Wechselspiel von Sprache und Gesang steuert, stimmlich differenziert sind, immer wieder eher konventionelle Einleitung strich, einen haben wir jeden Abend fünf oder sechs Logen ist ausgesprochen subtil. In deutlichem abwechselnd. Manchmal teilten sich die eigenen ersten Vers vorlegte und dann Halévy reserviert … Unser Publikum wird die Flucht Gegensatz zu einer Nummernoper mit ihren Sängerinnen die Bravournoten, was sicherlich darum bat, den Rest umzuschreiben und an ergreifen … Ganz unmöglich! eingestreuten Dialogen vermittelt Carmen sehr nicht nur von der der betreffenden das populäre Lied anzupassen, auf dem diese Der Komponist und die Librettisten lebhaft das Gefühl einer dramatischen Stimmen abhängig war, sondern auch von Nummer basierte. Auch in die Kartenleseszene willigten infolgedessen ein, die gewagte Entwicklung, die unausweichlich ihrem dem Wunsch der Direktion, neue Talente im ließ Bizet eigene Vorstellungen einfließen. Handlung durch Erfindung einer weiteren schrecklichen Ende zutreibt. Dazu bedient sich Ensemble von ihrer besten Seite zu zeigen. Die Noch bedeutender waren jedoch die Eingriffe Person zu entschärfen: Mit Micaëla, einem Bizet verschiedener Mittel. Soldatenrollen (zunächst war auch noch ein der Direktion. guten katholischen Bauernmädchen, sollte sich Die Geschichte beginnt recht munter, mit Andrès vorgesehen) gaben jungen Tenören und Die beiden Direktoren der Opéra-Comique, das Publikum identifizieren können. Zweideutigkeiten und sexuellen Anspielungen Bässen die Gelegenheit, auf sich aufmerksam de Leuven und du Locle, hatten zwei wichtige Außerdem brachten die Librettisten mit dem im gesprochenen Dialog (José putzt sein zu machen; ähnliche Chancen boten sich auch Anliegen. Erstens war gerade an einer anderen Stierkämpfer Escamillo einen zusätzlichen Bass Gewehr, die Zigarettenarbeiterinnen erzählen Tänzerinnen, die zwar dafür schlecht bezahlt Inszenierung heftig bemängelt worden, die ins Spiel. Ohne diese beiden Charaktere wäre von dem obszönen Streit zwischen Carmen wurden, oft aber Unterstützung durch festgeschriebene Forderung nach viel die Oper heute kaum vorstellbar. und Manuela über den Nutzen von Eseln und wohlhabende, ältere Gönner fanden, die nach gesprochenem Dialog wäre nicht erfüllt Sowohl der gesprochene Dialog als auch die Besenstielen u.ä.). Reizvolle Lokalcouleur wird der Vorstellung auf sie warteten. worden. Zweitens war den Direktoren an Gesangsnummern sind voller Kleinode. erzeugt, besonders durch die drei Tanzlieder, Als literarische Vorlage diente der Oper eine Werken gelegen, die dem bürgerlichen Beispielsweise Zunigas Verhör von Carmen, bei mit denen Carmen sich dem Publikum Novelle, die der französische Schriftsteller Publikum gefallen sollten – denn so ließen dem die Fragen gesprochen und die Antworten vorstellt. Ein dynamisches Element ist auch Prosper Mérimée 1830 nach einem sich die Logen füllen, in denen statusbewusste nur als “Tralalas” gesungen werden – wer sonst der allmähliche Übergang zur Spanienbesuch geschrieben hatte; der Text war Familien traditionell ihren heiratsfähigen hätte diese Elemente so blendend miteinander durchkomponierten Musik im Schlussakt, bei 1842 veröffentlicht und später durch ein Nachwuchs zur Schau stellten. Der Gedanke verschmelzen können wie Bizet und seine dem wir durch Klangfetzen schwindelerregend viertes, ganz den Zigeunern gewidmetes an eine Oper über Carmen brachte de Leuven Texter? Oder der Tanz, mit dem Carmen sich zwischen dem Stierkampf und Josés Streit mit Kapitel erweitert worden. Als Opernfigur in arge Verlegenheit. “Wird sie nicht von bei José für die Befreiung bedankt, während Carmen hin und hergerissen werden. übernimmt Carmen zahlreiche Attribute aus ihrem Liebhaber umgebracht?” fragte er ihre Kastagnetten mit den Signalhörnern aus Im Hinblick auf die verlangte der Geschichte Mérimées, nicht jedoch ihren Halévy entsetzt: den Kulissen kontrastieren. Das sind nur zwei Nachwuchsförderung wartete die Oper mit Ehemann, einen einäugigen Mörder. An einer Und spielt die Geschichte nicht in einem Milieu Beispiele für die unglaublich fruchtbare zwei Debütrollen für Sopran auf: Frasquita Stelle schreibt das Libretto für das Kostüm von Strauchdieben, Zigeunern und Phantasie Bizets, die uns selbst heute noch und Mercédès. In verschiedenen Darbietungen und den Auftritt Carmens “genauso wie von Zigarrenmädchen! … So etwas an der Opéra- Bewunderung abverlangt. wurden diese beiden Rollen, die normalerweise Mérimée beschrieben” vor, und der

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gesprochene Dialog hält sich oft eng an die Bedeutet die Präsenz der Kinder in der Oper Lieder charakterisieren Carmen nicht nur in benutzt werden? Denn es gab so viele. Vorlage. In vielerlei anderer Hinsicht – man vielleicht, dass die Librettisten von der Fabrik Wort und Ton, sondern auch optisch durch Editoren richten sich seit einiger Zeit stark an denke an die Schenke des Lillas Pastia – und ihrer Personalpolitik wussten? Wenn vulgären Tanz und betörende Körpersprache. den “Absichten des Komponisten” aus. Eine entfaltet sich das Libretto freier, obwohl das nicht aus eigener Erfahrung, so vielleicht Der musikalische Kontrast zu Micaëla könnte überwiegend in der Handschrift Bizets tänzerische Element auch bei Mérimée immer durch die vielen Zeichnungen, mit denen der nicht schärfer sein. verfasste Partitur ist uns erhalten, doch hätte wieder eine prononcierte Rolle spielt. Illustrator Gustave Doré nach Paris Wie rührend Bizet hingegen die Unschuld mich deren blindgläubige Beachtung auf die Don José verblasst geradezu bis auf den zurückgekehrt war? des siebzehnjährigen Bauernmädchens darstellt, falsche Spur geführt und ohnehin Punkt, wo seine Stärke als Operngestalt Neben Mérimée waren im neunzehnten die Musik mit dem religiösen Beiklang von wahrscheinlich den Absichten des vielleicht gerade in seiner Schwäche liegt. In Jahrhundert auch viele andere Schriftsteller Harfen koloriert. Und wie glänzend er uns Komponisten selbst nicht entsprochen. der Novelle ist er kein Soldat, sondern ein vom Leben und Wesen der Zigeuner fasziniert. wiederum den Stierkämpfer Escamillo in all Schließlich hatte dieser nur ein Hauptziel: Die Bandit, der von der Waffe durchaus Gebrauch In einer solchen Studie wurden mehrere von seinem Machismo gibt! So widersprüchlich die Oper sollte ein Erfolg werden. Infolgedessen zu machen bereit ist. Die Oper präsentiert ihn der Oper aufgegriffene Aspekte angesprochen: Oper auch schillern mag, wurde sie doch von nahm Bizet während der Proben immer wieder als einen innerlich zerrissenen, ratlosen Mann. der Widerstand von Zigeunern gegen drei Meistern des Musiktheaters geschaffen, Änderungen vor; später folgten andere seinem Im übrigen erfanden die Librettisten viel Drohungen und Folter, ihre Respektlosigkeit und weder die Interpreten noch die Beispiel, und dies nicht unbedingt zum hinzu, allerdings durchaus in realistischem gegenüber abendländischer Autorität, ihre Intendanten oder die Zuschauer haben sich je Nachteil des Werkes. Für meine Begriffe war Rahmen – Meilhac und Halévy waren für ihre Liebe zum Tabak und zum Alkohol, zum ihrem Bann entziehen können. beispielsweise das Verhör Carmens mit ihren “Lebensnähe” bekannt. So ist uns nicht nur Naschen von Leckereien und Kleinigkeiten “Tralalas” in der ersten Ausgabe zu breit Escamillo gegeben, sondern auch die Corrida, anstelle von “richtigen Mahlzeiten” und Anmerkungen zur Ausgabe ausgewalzt, so dass es von späteren Straffungen der traditionsreiche Aufmarsch zum natürlich die Liederlichkeit ihrer Frauen. Meine Hauptaufgabe bei der Vorbereitung profitierte. Stierkampf. Auch die Idee, die Wachstube Zigeuner galten außerdem als ungewöhnlich einer Edition für diese Aufnahme bestand Mir schien, dass die frühen Aufführungen einer Kaserne und das Tor einer begabte, wenn auch improvisierende Musiker, darin, von der Version für die Opéra-Comique an der Opéra-Comique den besten Zigarettenfabrik gegenüberzustellen und somit und hier stellte Bizet wieder sein Genie unter ausgehend den Musikern einen sauberen, Orientierungsrahmen bilden würden, und Pole der Ordnung und der Unordnung zu Beweis. Mit der Habanera, der und klaren Text vorzulegen. David Parry übertrug stützte mich stark auf die Orchesterstimmen schaffen, ist dramaturgisch genial. In Sevilla, dem Zigeunerlied (“Chanson Bohème”) das Libretto ins Englische und bewahrte die (die zuverlässigste Quelle für das, was dem Schauplatz der Handlung, gab es Carmens brachte der Komponist dem Essenz der gesprochenen Dialoge, die für ein tatsächlich im Orchestergraben gespielt wurde) tatsächlich eine berühmte Zigarettenfabrik Opernpublikum zum erstenmal das Wesen der gründliches Verständnis dessen, worum es und die erste veröffentlichte Vokalpartitur (heute Teil der Universität), die nur Frauen Zigeunermusik nahe – imitative aber Carmen geht, unerlässlich sind. Das (denn von diesen Seiten sangen die Sänger). beschäftigte – viele von ihnen resozialisierte hypnotische Stücke, eher rhythmisch und eigentliche Problem ergab sich schon bald: Außerdem gibt es eine unverzichtbare Partitur Dirnen und junge, uneheliche Mütter. repetitiv als harmonisch anspruchsvoll. Diese Welche Version für die Opéra-Comique sollte in Manuskriptform, die viele Jahre lang für die

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Aufführungen an der Opéra-Comique benutzt Platzkonzert, vielleicht von einer Militärkapelle. Leutnant Zuniga unterhalten sich über die geht. 13 José atmet den schweren Duft der wurde, bevor eine Orchesterpartitur im Druck Ein zweites Hauptthema, begleitet vom Zigarettenfabrik und deren Arbeiterinnen. Blüte ein. erschien. “Wumtata” der Blechbläser, erweist sich als 8 In der Fabrik läutet die Glocke, und der Micaëla kehrt zurück. José erkennt und Das Resultat steht nun im Verleih der Peters Motiv des Stierkämpfers Escamillo. Auf eine Platz füllt sich mit jungen Männern. 9 Die begrüßt sie; sie stammt aus seinem Dorf. Als Edition Ltd. zur Verfügung. Die Ausgabe dramatische Pause folgen düstere Töne. Arbeiterinnen strömen zu einer sie José erklärt, seine Mutter habe sie entstand mit Unterstützung der Tremolierende Streicher begleiten ein Zigarettenpause heraus und singen davon, wie geschickt, 14 beginnt er zu singen: “Erzähl mir Musikwissenschaftlerin Clair Rowden, deren verwundenes, wiederholt auftretendes Thema. einem der Rauch zu Kopf steigt und von meiner Mutter!” Micaëla hat ihm Geld, Tätigkeit freundlicherweise von der Peter Ist dies das Motiv Carmens, eine Art Liebesschwüre sich in Rauch auflösen. Die einen Brief und noch etwas anderes, viel Moores Foundation gefördert wurde. Derzeit Zigeneuerweise? Oder spricht hier das jungen Männer flehen sie an, nicht so grausam wertvolleres gebracht…; “Dieses andere … arbeite ich für den gleichen Verlag an einer Schicksal? zu sein. sprich doch”, bittet José. 15 Die Musik nimmt englisch-französischen Vokalpartitur, die 10 Den Soldaten fällt auf, dass Carmen religiöse Züge an: Harfen und Streicher zahlreiche Varianten aufzeigen und viel Erster Akt noch nicht erschienen ist. Das düstere Motiv begleiten Micaëla bei ihrer Erklärung, seine deskriptives und illustratives Material über 2 Eine Straßenszene in Sevilla. Auf einer aus dem Vorspiel klingt wieder an, diesmal Mutter schicke ihm einen Kuss. José ist die frühen Aufführungen enthalten wird. Seite des Platzes steht die Zigarettenfabrik, auf höher, und Carmen tritt auf. “Sag uns, an zutiefst bewegt. 16 Er sieht das Gesicht seiner Hierbei ist nicht nur an eine Aufführungsedition der anderen die Wachstube der Kaserne. welchem Tage du uns lieben wirst”, bitten die Mutter vor sich und stimmt in ein Duett mit gedacht, sondern auch an eine Studienausgabe Rauchend beobachten einige Dragoner die jungen Männer. Carmen neckt sie: gewiss nicht Micaëla ein, in dem Erinnerungen wach für interessierte Opernbesucher und Studenten. Passanten. 3 Eine junge Frau zieht die heute. 11 Dann kommt ihr erstes Tanzlied: die werden. An Carmen denkend überlegt José, ob Eine Orchesterpartitur soll folgen. Aufmerksamkeit der Soldaten auf sich: Es ist berühmte Habanera. “Die Liebe ist ein dieser Kuss vielleicht eine Gefahr abwenden Micaëla, die Don José sucht. Sergeant Moralès widerspenstiger Vogel,” singt sie, “den noch soll. Micaëla versteht nicht, was er meint, © 2003 Richard Langham Smith lässt sie wissen, José werde mit der keiner zähmen kann.” Der Chor stimmt ein. doch José wechselt das Thema. 17 José liest Übersetzung: Andreas Klatt Wachablösung kommen, und lädt sie in die 12 Plötzlich verdüstert sich die Stimmung: den Brief seiner Mutter, die ihn bittet, Micaëla Wachstube ein, doch Micaëla lehnt dankend Das Schicksalsmotiv kehrt zurück und zu heiraten. Die Handlung ab. gewinnt an Kraft, bis Carmen zum erstenmal 18 – 19 In der Fabrik wird es plötzlich laut, 4 – 6 Eine Trompetenfanfare, gefolgt von José anspricht und ihn fragt, was er da macht. und die Zigarettenarbeiterinnen rufen die CD 1 den Querpfeifen und Trompeten eines Er erwidert nur, er sei beschäftigt, und putzt Soldaten um Hilfe. Carmen hat sich beleidigt Militärmarsches, kündigt die aufziehende weiter sein Gewehr; Carmen zieht eine gefühlt, und jemand ist verwundet worden. 1 Lebhafte Streicher, kecke Pikkolos und Wache an. Den Soldaten laufen wetteifernd Kassienblüte aus ihrem Mieder und wirft sie Zuniga weist José an, die Sache zu herzhafte Blechbläser setzen das Vorspiel Gassenjungen voraus. Eine weitere Fanfare ihm zu, bevor sie mit den anderen untersuchen. Die Arbeiterinnen sind uneins stimmungsvoll in Szene. Es klingt wie ein ertönt zur Wachablösung. 7 José und Zigarettenarbeiterinnen wieder in die Fabrik darüber, wer den Streit begonnen hat.

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Carmen erklärt, man habe sie provoziert, und Zweiter Akt CD 2 Mutter Schutz suchen, verhöhnt sie ihn. “Bist 20 Zuniga verhört sie. Auf jede seiner Fragen In der Schenke von Lillas Pastia 25 sitzen du der Teufel, Carmen?” fragt er. “Aber ja. Ich erwidert sie nur: “Tralalalalalalala.” Zuniga Zigeuner und Offiziere, und Carmen tanzt 1 Dann wiederholt sie ihr Versprechen, für habe es dir schon gesagt”, kommt die befiehlt José, ihr die Hände zu fesseln und sie zusammen mit Frasquita und Mercédès, zwei ihn zu tanzen. 2 Während des Tanzes hört Antwort. abzuführen. befreundeten Zigeunerinnen, ihr drittes man, wie in der Ferne der Zapfenstreich 12 Frasquita und Mercédès lesen sich die 21 José und Carmen kommen auf dem Weg Tanzlied. Das Stück steigert sich zu atemloser geblasen wird. Carmen amüsiert die Karten und sind guter Dinge: Die eine findet zur Zelle ins Gespräch. Nachdem es ihr auf Hektik. 26 Zuniga lädt die drei Frauen ein, musikalische Begleitung zu ihrem Lied, doch einen guten Verliebten und die andere einen verschiedene Weise nicht gelungen ist, ihn auf ihn und die anderen Soldaten ins Theater zu José weiß, dass er ins Quartier zurück muss. reichen Alten. Doch für Carmen sprechen die ihre Seite zu bringen, behauptet sie, er werde begleiten, doch sie lehnen ab. 3 Sie streiten sich. Carmen kann im Karten vom Tod: “Zuerst ich und dann er.” alles für sie tun, weil er sie liebe. José will 27 Ein Chor kündigt den Auftritt von Pflichtbewusstsein Josés nur eine Verweigerung Erneut erklingt das Schicksalsmotiv. 13 Sie davon nichts hören, aber es mangelt ihm an Escamillo an. 28 – 29 Die Offiziere bestellen zu seiner Liebe sehen. 4 Mit einer Arie über die singt ihre erste echte Arie, eine Besinnung Überzeugungskraft. 22 Sie singt ihr zweites seinen Ehren etwas zu trinken. 30 Er singt sein Kassienblüte, die sie ihm zugeworfen hat, über das vorhergesagte Schicksal. 14 – 15 Die Tanzlied, die Seguidilla. Darin geht es um eine berühmtes Trinklied über den Stierkampf und bemüht er sich ein letztesmal um ihr Schmuggler planen ihren Überfall und weisen Schenke an den Stadtmauern, die einem den Lohn der Liebe, der jeden Torero erwartet. Verständnis. 5 Wenn er sie wirklich liebe, Carmen, Frasquita und Mercédès an, die gewissen Lillas Pastia gehört. Dort will 31 – 32 Escamillo bekundet Interesse an erwidert Carmen, würde er mit ihr in die Zöllner zu verführen. José ist eifersüchtig. Carmen sich mit ihrem neuen Liebhaber Carmen, doch sie gibt sich abweisend. 33 Die Berge fliehen. Es klopft an der Tür, 6 Zuniga 16 Micaëla erscheint mit einem Bergführer. treffen, einem Grenadier. José bezieht die Schmuggler Dancaïre und Remendado planen tritt ein und erblickt José, der nun als 17 In ihrer Arie “Ich sagte, mich kann nichts Anspielung auf sich und fragt, ob sie ihn mit den Zigeunern ein neues Unternehmen. Deserteur gelten muss. 7 – 8 Die Zigeuner erschrecken” gesteht sie ihre Liebe zu José ein. lieben werde, falls er sie freilasse. Manzanilla 34 – 35 In einem Quintett bitten die beiden überwältigen Zuniga und bieten José einen 18 Sie zieht sich in ein Versteck zurück und werden sie trinken, verspricht sie, und die Männer Carmen und ihre Freundinnen um Ausweg: Er muss sich ihnen anschließen. beobachtet José, während Escamillo eintrifft. Seguidilla tanzen. Tralalalala. José löst ihr die Hilfe. Zur allgemeinen Überraschung bekennt 19 – 20 Escamillo offenbart seine Liebe zu Fesseln. Carmen, verliebt zu sein. Die Männer erinnern 9 Zwischenaktmusik Carmen, ohne zu ahnen, dass José sich noch 23 Im Finale des Ersten Aktes singt Carmen sie an ihre Pflicht als Zigeunerin, doch Carmen mit ihr verbunden fühlt. José erzwingt einen dem Leutnant Zuniga etwas von ihrer erklärt, diesmal müsse die Liebe vor der Pflicht Dritter Akt Messerkampf, in dem er schnell unterlegen ist, Habanera ins Gesicht und ergreift nach rangieren. 36 Von Ferne singend trifft Don José Eine wilde Berglandschaft. 10 Die Zigeuner doch Escamillo erspart ihm den Tod. José einem mit José vorgetäuschten Gerangel die ein. Carmen begrüßt ihn erfreut und macht marschieren singend mit den Schmugglern besteht darauf, den Kampf fortzusetzen, und Flucht. sich sogleich daran, ihre Schuld bei ihm heran. 11 In einem gespannten Dialog hört als Escamillo das Gleichgewicht verliert, abzutragen. Zunächst bestellt sie reichlich zu Carmen von José, seine Mutter lebe in einem verhindert die 21 herbei eilende Carmen, dass 24 Zwischenaktmusik essen und zu trinken. Dorf nicht weit von hier. Dann sollte er seiner José ihm den Todesstoß versetzt. Escamillo

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bedankt sich bei ihr und fordert José zu einer ankündigt. Zuletzt kommt Escamillo, begleitet the World” in Cardiff als jüngste Siegerin aus Anlass des fünfzigsten Geburtstags von “Entscheidung” heraus. 22 Remendado von Carmen. 27 In einem Duett erklären sie hervorging. Inzwischen gilt sie international Prinz Charles sang sie im Buckingham Palace. entdeckt Micaëla in ihrem Versteck. Sie inmitten des Trubels ihre Liebe zueinander. als führende Operninterpretin. Sie hat die Für Chandos/Peter Moores Foundation hat stimmt erneut ihre schöne erste Arie mit Frasquita und Mercédès warnen Carmen: José Titelrollen in Tancredi am Teatro la Fenice in sie Eugen Onegin aufgenommen. Harfenbegleitung an und erinnert José einmal ist offenbar in der Nähe. Venedig, Carmen an der Hamburger mehr an seine Mutter, die nun ihrer 28 José tritt aus der Menge hervor und fleht Staatsoper, La Cenerentola am Théâtre de la Die Sopranistin Mary Plazas studierte am Einsamkeit weint. Selbst die Zigeuner Carmen an, mit ihm ein neues Leben zu Monnaie in Brüssel, Tamerlano in Beaune und Royal Northern College of Music in stimmen ein und drängen José heimzukehren: beginnen. Liebt sie ihn nicht mehr? “Nein, ich Orlando in New York, Paris, Lyon und Manchester bei Ava June. Sie wurde mit “Es wird dich das Leben kosten, wenn du liebe dich nicht mehr”, erwidert sie. 29 In der Antwerpen gesungen. Außerdem hat sie mehreren Preisen ausgezeichnet, wie dem nicht gehst.” Als José erklärt, er könne Arena jubiliert wieder der Chor: Escamillo ist Penelope (Il ritorno d’Ulisse in patria) und Kathleen Ferrier Memorial Scholarship 1991, Carmen nicht verlassen, 23 eröffnet Micaëla dem Stier überlegen, und Carmen gesteht, Anna (Les Troyens) beim Maggio Musicale in und erhielt Stipendien auch von der Peter ihm, dass seine Mutter im Sterben liegt. Das dass sie den Torero liebt. Den Ring, den José Florenz, Arsace (Semiramide) am Teatro la Moores Foundation und dem Countess of überzeugt auch ihn, doch zu Carmen sagt er: ihr einst gegeben hat, wirft sie ihm nun vor Fenice, Cornelia (Giulio Cesare) und Amastris Munster Musical Trust. 1992 gab sie ihr “Wir sehen uns wieder.” Escamillo denkt an die Füße. Er verliert die Selbstbeherrschung. (Serse) an der Münchner Staatsoper und in Operndebüt an der English National Opera als seinen nächsten Stierkampf und den Während die Musik dramatisch zwischen dem Dresden, Ursule (Béatrice et Bénédict) in Stimme vom Himmel in Don Carlos. Sie hat winkenden Lohn, indem er ein Stück aus Chor und der Arie des Toreros wechselt, Amsterdam, und Smeton (Anna Bolena) in San mit allen großen britischen Opernensembles, seiner Arie singt. schlägt José die Geliebte tötlich nieder. Ihr Francisco verkörpert. Man hat sie auch an der an der New Israeli Opera und der Leben zerrinnt, als der siegreiche Escamillo aus Opera North, Welsh National Opera, Scottish Metropolitan Opera New York sowie bei den 24 Zwischenaktmusik der Arena tritt. “Ich habe sie getötet!” bekennt Opera und Glyndebourne Festival Opera Bregenzer Festspielen gesungen. Zu ihrem José, “Ach, Carmen! Meine geliebte Carmen!” erlebt und an der Royal Opera Covent Garden umfangreichen Repertoire gehören Susanna Vierter Akt hat sie u.a. in Mosè in Egitto, Guillaume Tell, (Le nozze di Figaro), Donna Elvira (Don Die Zwischenaktmusik im spanischen Stil © 2003 Richard Langham Smith Rigoletto, Mefistofele und Giovanni), Marzelline (Fidelio), Adina (L’elisir führt uns in die Straßen um die Übersetzung: Andreas Klatt gesungen. d’amore), Oscar (), Mimì Stierkampfarena. 25 Straßenhändler bieten Sie hat Konzerte und Solokonzerte in ganz (La bohème), Anne Trulove (The Rake’s Fächer, Eiskrem, Orangen, Zigaretten usw. Die in Dublin geborene Mezzosopranistin Europa, in den Vereinigten Staaten und in Progress) und die Titelrolle in Das schlaue feil. Zuniga erscheint mit Frasquita und Patricia Bardon studierte bei Veronica Dunne Japan gegeben und ist mit Dirigenten wie Füchslein. Sie hat Donna Elvira mit der Mercédès. 26 Es erklingt wieder die am College of Music in Dublin und machte Zubin Mehta, Bernard Haitink, Claudio Glyndebourne Touring Opera gesungen und Anfangsmusik aus dem Vorspiel, diesmal mit auf sich aufmerksam, als sie aus dem Abbado, Antonio Pappano und Sir Charles für dieses Ensemble auch die Rolle der Tina in einem Chor, der den Aufzug zum Stierkampf internationalen Sängerwettbewerb “Singer of Mackerras aufgetreten. Bei einem Festkonzert Jonathan Doves Flight geschaffen, die sie dann

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auch an der Glyndebourne Festival Opera National Opera zählen Pinkerton (Madama Ferner wirkte er bei einer sechsteiligen Repertoire vom Magnificat und der Johannes- verkörperte. Butterfly), Cavaradossi (Tosca), der Herzog Dokumentation für das Fernsehprogramm Top Passion Bachs über das Deutsche Requiem von Mary Plazas hat Konzerte und Solokonzerte (Rigoletto) und die Titelrollen in Score der BBC über die Gestaltung einer Oper, Brahms, Rachmaninows Der Frühling, Kurt u.a. in der Wigmore Hall, im Purcell Room Neuinszenierungen von Ernani und Les Contes die auf La bohème basiert. Weills Berliner Requiem, Bernsteins West Side und im Karajan-Zentrum in Wien gegeben d’Hoffmann. 1996 debütierte Gavin an der Story und Brittens War Requiem reicht. Für und ist bei vielen Festspielen aufgetreten. Im Royal Opera Covent Garden mit der Titelrolle Der Bariton Garry Magee, ein Absolvent der Chandos/Peter Moores Foundation hat er die konzertanten Rahmen hat sie Haydns der Oper Don Carlos unter der Stabführung Guildhall School of Music and Drama und des Titelrolle in Don Giovanni und Valentin in Schöpfung, Tippetts A Child of Our Time, von Bernard Haitink. Diese Partie sang er National Opera Studio, wurde 1995 mit dem Faust aufgenommen. Schumanns Das Paradies und die Peri und auch bei dem Edinburgh Festival 1998. 1. Preis der Kathleen Ferrier Awards Canteloubes Lieder aus der Auvergne gesungen. Andere Rollen, die er bereits interpretiert hat, ausgezeichnet und gehörte im Jahr darauf zu Die in Cork geborene Sopranistin Mary Ihre Schallplattenaufnahmen umfassen sind Alfredo (La traviata) für Den Norske den Preisträgern beim Internationalen Hegarty studierte an der Cork School of Mercadantes Emma d’Antiochia und Pacinis Opera Oslo, Opera Australia und die ENO; Belvedere-Wettbewerb in Wien; zur Zeit setzt Music und am National Opera Studio in Maria, regina d’Inghilterra auf Opera Rara, Rodolfo (La bohème), Laca, Carlo (Giovanna er seine Studien bei Robert Dean fort. Zu London. Sie errang den Titel “Golden Voice of und für Chandos/Peter Moores Foundation d’Arco) und die Titelrolle in Don Carlos an der seinen vielen Rollen gehören Guglielmo Ireland” und vertrat ihr Land bei dem hat sie Zerlina (Don Giovanni), Adina, Opera North; Des Grieux (Manon Lescaut) (Così fan tutte), Papageno (Die Zauberflöte), internationalen Sängerwettbewerb “Singer of Marguerite (Faust) und Liù (Turandot) mit den Israel Philharmonikern; Pollione Dr. Malatesta (Don Pasquale), Figaro the World” in Cardiff. In Großbritannien ist aufgenommen. (Norma) in Luzern; Pinkerton an der (Il barbiere di Siviglia), Marcello und sie an der Royal Opera Covent Garden, Deutschen Oper Berlin; Roméo (Roméo et Schaunard (La bohème), Sharpless (Madama English National Opera, Opera North, Opera Julian Gavin kam in Melbourne, Australien, Juliette); Don José für Opera Australia; Butterfly) und Harry Heegan (The Silver Tassie) Northern Ireland, Glyndebourne Touring zur Welt und wurde dort ausgebildet. Rodolfo in konzertanten Aufführungen von sowie die Titelrollen in Don Giovanni und Opera und Garsington Opera aufgetreten. Zu Nachdem er einen postgraduellen Luisa Miller; Arrigo in La battaglia di Legnano; Eugen Onegin. Er hat an der English National ihren vielen Rollen gehören Blondchen Dirigentenkurs absolviert hatte, zog er nach und Ishmaele in Nabucco unter Sir Edward Opera, Opera North, Royal Opera Covent (Die Entführung aus dem Serail ), Cherubino England, um sich am National Opera Studio Downes. Garden, Welsh National Opera, Vlaamse und Susanna (Le nozze di Figaro), Papagena zu perfektionieren. Er machte sein britisches Julian Gavin hat u.a. die folgenden Partien Opera, Opéra de Monte-Carlo, am Théâtre de (Die Zauberflöte), Norina (Don Pasquale), Operndebüt an der English National Opera in auf CD aufgenommen: Godvino (Aroldo), Les la Monnaie in Brüssel, an der Nederlandse Adina (L’elisir d’amore), Ninetta (La gazza der Rolle des Alvaro (); Contes d’Hoffmann, das Verdi-Requiem und Opera, der Deutschen Oper Berlin und der ladra), Elvira (L’italiana in Algeri), Fiorilla dann trat er als Laca in der Opera North- Rigoletto, den Psalmus Hungaricus von Kodály, Florida gastiert. Er ist bei (Il turco in Italia), Marzelline (Fidelio), Inszenierung von Jenuofa auf. und Gounods Roméo et Juliette, sowie Ernani Konzerten, Festspielen und Solokonzerten im Micaëla, Pousette (Manon), Nanetta (Falstaff ), Zu Julian Gavins Partien an der English für Chandos/Peter Moores Foundation. In- und Ausland aufgetreten, wobei sein Lisette (La rondine) und Anne Trulove

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(The Rake’s Progress). Sie hat in der Royal Messiah, Mozarts Messe c-Moll und Exsultate, Mark Le Brocq war Chorstipendiat am Der Bariton Toby Stafford-Allen studierte bei Albert Hall, im Barbican Centre und in der jubilate sowie Orffs Carmina burana gesungen. St. Catharines College in Cambridge, wo er Robert Alderson am Royal Northern College Royal Festival Hall, bei den Festspielen von Anglistik studierte. Mit einem Entrance- of Music, wo er u.a. Figaro (Le nozze di Batignano, Aix-en-Provence und Buxton und Der Tenor Peter Wedd studierte an der Stipendium ging er an die Royal Academy of Figaro), die Titelrolle in der Baritonfassung an der Vlaamse Opera gastiert und den Guildhall School of Music and Drama bei Music, um bei Kenneth Bowen zu studieren, von Werther und den Altgesellen ( Jenu˚fa) Messiah mit dem Orchestre nationale de William McAlpine und am National Opera bevor er seine Ausbildung am National Opera sang. Anschließend trat er der English Belgique gesungen. Studio mit Unterstützung der Peter Moores Studio fortsetzte. National Opera bei und sang mit diesem und Foundation. Er hat Cascada (Die lustige Als Hauptsänger an der English National anderen britischen Ensembles Valletto Die Sopranistin Sally Harrison studierte am Witwe) an der Royal Opera Covent Garden, Opera sang er u.a. Tamino (Die Zauberflöte), (L’incoronazione di Poppea), Henry (The Fairy Royal Northern College of Music mit Federico (L’Arlesiana) und Pluto (Orphée aux Paris (King Priam), Almaviva (Il barbiere di Queen), Papageno (Die Zauberflöte), Fiorello Unterstützung eines Stipendiums der Peter enfers) an der Opera Holland Park, Don José Siviglia), Narraboth (Salome), Don Ottavio, (Il barbiere di Siviglia), Barone Douphol Moores Foundation und später am National und Tamino (Die Zauberflöte) an der Welsh Monostatos, Rodriguez (Massenets Don (La traviata) und Schaunard (La bohème). Zu Opera Studio. An der English National Opera National Opera gesungen; außerdem umfasst Quixote), Odoardo (Ariodante), Doctor seinen Festspielrollen gehören Guglielmo (Così hat sie Despina (Così fan tutte), Papagena und sein Opernrepertoire die Rollen von Edgardo Maxwell (The Silver Tassie) und Siward fan tutte) in Aix-en-Provence, Mars und Euro Pamina (Die Zauberflöte), Giannetta (L’elisir (Lucia di Lammermoor), Rodolfo (La bohème), (A Better Place). Außerdem gastierte er an der in Cestis Il pomo d’oro in Batignano, d’amore), Lidka (Smetanas Zwei Witwen), Eisenstein (Die Fledermaus) und Lysander Opera Northern Ireland, Garsington Opera Schaunard in Bregenz und Grimbald und Frasquita, Chloë (Pique Dame) und Yum (A Midsummer Night’s Dream) sowie die und bei den Festspielen von Aix-en-Provence. Aeolos in Purcells King Arthur in Kings Lynn Yum (The Mikado) gesungen; außerdem hat Titelrolle in Les Contes d’Hoffmann. Von 1999 Mark Le Brocq ist mit Recitals und als Norfolk. Sein Oratorienrepertoire umfasst die man sie als Musetta (La bohème) und Polly bis 2001 war er erster Tenor der Royal Opera. Oratoriumssolist in den USA, Frankreich, Requiems von Mozart und Fauré, Haydns Peachum (Die Dreigroschenoper) an der Sein breit gefächertes Konzertrepertoire Deutschland, Spanien und Nahost sowie in Schöpfung und Bachs Messe h-Moll. Scottish Opera und als Gräfin Almaviva reicht von Bachs Johannes-Passion und Händels allen namhaften Konzertsälen Londons (Le nozze di Figaro) mit der Opera Theatre Messiah, über die Requiems von Mozart und aufgetreten. Mit dem Gabrieli Consort unter Der Bassbariton Nicholas Garrett studierte am Company in Dublin erlebt. Weitere Verdi, die Petite Messe solennelle von Rossini der Leitung von Paul McCreesh hat man ihn Trinity College of Music und wurde mit dem vielbeachtete britische Auftritte kamen als und Mendelssohns Elijah bis zu Janácˇeks bei Festspielen in ganz Europa erlebt. Seine Wolfson Foundation Award ausgezeichnet. Er Poppea (Händels Agrippina) beim Buxton Glagolitischer Messe und Brittens Diskografie umfasst Il trovatore und Turandot hat Sourin (Pique Dame) an der Scottish Festival, Galatea (Acis and Galatea) beim Les Illuminations und Serenade for Tenor, Horn für Chandos/Peter Moores Foundation, Opera, Sparafucile und Conte di Monterone English Bach Festival und Gilda (Rigoletto) an and Strings. Für Chandos/Peter Moores Samson, Judas Maccabaeus, Purcells Hail Bright (Rigoletto), Figaro (Le nozze di Figaro) und der Bath and Wessex Opera. Auf der Foundation hat er Lucia di Lammermoor, Cecilia, Händels Utrecht Te Deum und Boyces Nourabad (Les Pêcheurs de perles) mit der Konzertbühne hat sie Händels Esther und Ernani und Turandot aufgenommen. I Was Glad. English Touring Opera und Escamillo, Don

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Basilio (Il barbiere di Siviglia) und die Titelrolle genießt wachsendes Ansehen und ist bei der Außerdem hat der Chor Filmmusik gepriesen, in deren Kern die Zielsetzung steht, von Don Giovanni an der Opera Holland Park BBC und internationalen Plattenfirmen aufgenommen und über dreißig neue Werke neue Stücke der weltweit führenden lebenden gesungen. In der Neuinszenierung von Carmen gefragt. Für Chandos hat der Geoffrey zur Aufführung gebracht. Komponisten, zum Beispiel seines derzeitigen an der Opera North sang er vor kurzem Mitchell Choir an zahlreichen Aufnahmen der Gastkomponisten James MacMillan, zu spielen Escamillo und Dancaïre. Er debütierte an der hervorragend kritisierten Reihe Opera in Seit seinen vielversprechenden Anfängen 1945, und in Auftrag zu geben. Royal Opera Covent Garden in Pfitzners English unter der Schirmherrschaft der Peter als es von Walter Legge hauptsächlich für Das Orchester unternimmt oft Palestrina und an der English National Opera Moores Foundation teilgenommen. Schallplattenaufnahmen gegründet wurde, hat Auslandstourneen und kann als das am als Barone Douphol in La traviata. das einige der häufigsten aufgenommene Sinfonieorchester Auslandsverpflichtungen haben ihn an die Der New London Children’s Choir wurde bedeutendsten Dirigenten des zwanzigsten der Welt über tausend Einspielungen für sich Opéra national de Paris-Bastille und die Opéra 1991 von seinem musikalischen Leiter Ronald Jahrhunderts für sich gewonnen. Besonders verbuchen. Darunter befinden sich (für die de Nantes geführt. Sein Konzertrepertoire Corp gegründet, um Kindern die enge Beziehungen zu dem Orchester haben Reihe Opera Rara) mehrere Aufnahmen mit umfasst alle großen Oratorienrollen sowie Herausforderungen und die Freuden des Otto Klemperer (der erste Chefdirigent), Opernarien und elf vollständige moderne Werke wie Berios Sinfonia, an deren Singens und der Darbietung von Musik in Lorin Maazel, Riccardo Muti, Giuseppe Opernaufzeichnungen (Donizettis Ugo, conte Aufführung bei den Boulez-Festspielen in jeder Form zu vermitteln. Dies führte zu Sinopoli, Carlo Maria Giulini, Sir Andrew di Parigi, Ne m’oubliez pas, Emilia di Liverpool, Tokio er 1995 mitwirkte. Auftritten in allen wichtigen Konzertsälen Davis, Vladimir Ashkenazy und Esa-Pekka L’assedio di Calais, Rosmonda d’Inghilterra und Londons, der Zusammenarbeit mit den besten Salonen unterhalten. Unter seinem derzeitigen Maria de Rudenz, Meyerbeers Dinorah, Mayrs Geoffrey Mitchells Gesangskarriere hat ihm Sinfonieorchestern und Dirigenten Chefdirigenten Christoph von Dohnányi und Medea in Corinto, Mercadantes Orazi e ein bemerkenswert breitgefächertes Repertoire Großbritanniens sowie Opernensembles im mit Leonard Slatkin als Erstem Gastdirigenten Curiazi, Pacinis Maria, regina d’Inghilterra und von der alten bis zur neuen Musik beschert In- und Ausland, zahlreichen Schallplatten- hat das Orchester seine zentrale Position im Rossinis Otello). Das Orchester hat für und ihn nach Skandinavien, Deutschland, in aufnahmen und Rundfunkkonzerten sowie britischen Musikleben gefestigt, und zwar Chandos zahlreiche Aufnahmen auf Tonträger die ehemalige Tschechoslowakei, nach Kanada Einladungen zu vielen wichtigen Festivals. nicht nur in London, wo es als Hausorchester vorgenommen, beispielsweise für die Reihe und Australasien geführt. Nachdem er bei der Die umfangreiche Diskografie des Chors der Royal Festival Hall fungiert, sondern mit Opera in English unter der Schirmherrschaft BBC erste Dirigiererfahrungen gesammelt umfasst Tchaikowskis Nussknacker, Hilfe regionaler Gastspiele auch für ein der Peter Moores Foundation Don Giovanni, hatte, begann er mit eigenen Sängern zu Schostakowitschs Lied von den Wäldern, breiteres Publikum. L’elisir d’amore, Lucia di Lammermoor, Faust, arbeiten und gründete den Geoffrey Mitchell Prokofjews Iwan der Schreckliche, Rutland Das Orchester hat mehrere bedeutende Aida, La bohème, Madama Butterfly, Turandot, Choir. Aus ersten Aufnahmen entwickelte sich Boughtons Bethlehem und Hugh the Drover Preise gewonnen und mit seiner Vitalität und die preisgekrönte Tosca und Soloalben mit eine langfristige Zusammenarbeit des Chors von Vaughan Williams, Mahlers Sinfonie seinem einzigartig warmen Klang den Beifall Opernarien mit Bruce Ford, Diana Montague, mit Opera Rara, für die er über dreißig Nr. 3, The Planets von Holst und Brittens der Kritik gefunden. Außerdem wurde es für Dennis O’Neill, Alastair Miles, Yvonne Kenny Tonträger aufgenommen hat. Der Chor St. Nicolas und A Midsummer Night’s Dream. seine innovative Programmgestaltung und John Tomlinson.

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David Parry hat bei Sergiu Celibidache studiert in Japan anläßlich einer Carmen-Tournee und und seine berufliche Laufbahn als Assistent von in Mexiko mit dem UNAM Symphony Sir John Pritchard begonnen. Er hat am English Orchestra. Zu den Neuproduktionen, die er in Music Theatre debütiert und wurde dann letzter Zeit dirigiert hat, zählen Fidelio beim London AKG Dirigent mit Festvertrag an den Städtischen New Zealand Festival, Lucia di Lammermoor an Bühnen Dortmund und an der Opera North. der New Israeli Opera und Don Giovanni an Von 1983 bis 1987 war er Musikdirektor der der Staatsoper Hannover. Opera 80 und seit 1992 Gründungsmitglied Seine Tätigkeit im Aufnahmestudio umfaßt und Direktor der Almeida Opera. die Produktion von Marschners Der Vampyr Er übt in Großbritannien und international fürs BBC-Fernsehen und achtundzwanzig eine weitgespannte Tätigkeit in den Bereichen vollständige Opernaufzeichnungen unter der Oper und Konzert aus, hat mehrere Schirmherrschaft der Peter Moores Produktionen der English National Opera und Foundation. Darunter befinden sich zahlreiche der Opera North dirigiert und tritt regelmäßig Aufnahmen der Reihe Opera Rara, die mit dem Philharmonia Orchestra und dem mehrere Preise gewonnen haben, beispielsweise London Philharmonic Orchestra auf. 1996 gab den belgischen Prix Cecilia für Donizettis er sein Debüt beim Glyndebourne Festival mit Rosmonda d’Inghilterra. Für Chandos hat er die Così fan tutte und hat dort 1998 die Aufzeichnung einer Serie von Programmen Uraufführung von Jonathan Doves Flight mit Opernarien geleitet (mit Bruce Ford, geleitet. Diana Montague, Dennis O’Neill, Alastair Er ist häufig in Spanien zu Gast und hat mit Miles, Yvonne Kenny, John Tomlinson, Della den meisten bedeutenden spanischen Jones und Andrew Shore), außerdem Don Orchestern Konzerte gegeben. In Madrid hat er Giovanni, Don Pasquale, L’elisir d’amore, die spanische Uraufführung von Peter Grimes Lucia di Lammermoor, Ernani, Il trovatore, dirigiert, und 1996 die erste spanische Aida, Faust, Cavalleria rusticana, Pagliacci, Inszenierung von The Rake’s Progress. Er ist in La bohème, Turandot, die preisgekrönte Tosca Deutschland, der Schweiz und den und Highlights aus dem Rosenkavalier, jeweils Niederlanden aufgetreten, bei den Festspielen in in Zusammenarbeit mit der Peter Moores Gipsy dancing near Seville; woodcut Pesaro, beim Hong Kong International Festival, Foundation. after Gustave Doré

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condensant les dialogues parlés en récitatifs. Et l’Opéra-Comique était pour la bourgeoisie. Bizet: Carmen c’est cette version-là de l’opéra qui fut le plus Dans le cas de Carmen, le public auquel cette souvent donnée au vingtième siècle. œuvre était destinée en influença fortement la Carmen de Bizet est sans doute l’opéra le plus Pour toucher au fond de l’opéra, il est utile La tendance plus récemment a été de conception. populaire de tous les temps. Il a été filmé plus de d’avoir une idée des ingrédients très variés qui revenir au format de l’“opéra comique”, une Il y avait plusieurs Opéra-Comique dans ce quatre-vingt fois et a donné lieu à au moins entrèrent dans sa confection et des deux expression qui nécessite quelques explications, quatrième sens du terme; le dernier en date, la autant d’adaptations différentes: il fait partie de grands types de mises en scène qu’il a suscités. entre autres à cause des quatre sens différents troisième Salle Favart, se dresse aujourd’hui ces œuvres qui révèlent de nouveaux secrets Créée à l’Opéra-Comique à Paris en mars qu’on peut lui attribuer. “Opéra comique” encore à Paris. Carmen fut écrit pour la chaque fois qu’elles sont abordées. Ce qui fascine 1875, la version originale respectait le peut être une référence au côté comique de seconde Salle Favart qu’un feu détruisit avant tout dans l’opéra, c’est bien naturellement règlement de l’époque selon lequel tous les l’opéra, mais ce ne saurait être le cas de entièrement en mai 1887. L’opéra fut donc l’héroïne bohémienne. Et si Carmen a eu autant spectacles à l’Opéra-Comique se devaient Carmen. Le deuxième sens est celui auquel on façonné par les trois derniers sens de de personnalités que d’interprètes, elle n’a eu d’associer le parlé et le chanté. Durant les a déjà fait allusion: un “opéra comique” est l’expression: il s’agit bel et bien d’un “opéra aucun mal à rester à la page. Il est certain que répétitions, en présence du compositeur, une œuvre pour la scène dans laquelle les comique”, il adhère aux conditions requises pour le public du dix-neuvième siècle – et certaines coupures furent faites, aussi bien interprètes associent le parlé, souvent sous par l’Opéra-Comique et il fut créé à l’Opéra- souvent pour celui du vingtième siècle – elle dans la musique que dans le dialogue parlé, et forme de dialogue, et le chanté – le mot Comique même. n’était qu’une femme malfaisante poussant José à cela reste à ce jour la norme des mises en scène “comique” étant de la même famille que le Le succès de Carmen est dû en très grande se détruire. José aurait dû épouser l’innocente de cette version Opéra-Comique, même dans mot “comédien”. La compagnie de l’Opéra- partie à son excellent livret, l’œuvre de deux Micaëla, cela allait sans dire. Depuis, d’autres l’enregistrement que voici, bien que les Comique avait inscrit plusieurs conditions librettistes qui n’en étaient pas à leur première opinions ont émergé. Certains estiment même changements soient ici minimaux. expresses à son code de loi. Ainsi, outre collaboration. Henri Meilhac se chargea de que Micaëla n’est qu’une sainte nitouche. Et ne Bizet mourut en juin 1875, quelques mois l’obligation d’associer le parlé et le chanté, formuler l’intrigue et d’écrire le dialogue parlé, peut-on voir en Carmen le symbole de la femme seulement après la première, mais il ne fait elle se devait de promouvoir les œuvres Ludovic Halévy fournit la poésie rimée des libérée qui prend en charge sa propre destinée, guère de doute qu’il aurait plus tard adapté nouvelles de compositeurs français et de chansons et arias. Mais c’est Bizet lui-même qui est libre de choisir ses partenaires sexuels et lui-même cette œuvre pour l’Opéra de Paris donner la vedette aux jeunes chanteurs qui avait eu l’idée de Carmen et il contribua de les rejeter à son gré? Qui plus est, Carmen (entre autres) où, contrairement aux traditions français. également au livret, remplaçant parfois le reste totalement fidèle à la morale bohémienne de l’Opéra-Comique, les dialogues parlés Enfin, il y a le bâtiment lui-même, l’Opéra- travail des librettistes par ses propres vers. On des siens, selon laquelle les dettes doivent être n’étaient pas autorisés et où la musique de tous Comique – et n’oublions pas que différents lui doit ainsi la première partie de la remboursées, l’amour passe avant tout et voler les opéras devait se dérouler sans interruption. théâtres lyriques attirent différents publics. En Havanaise: un manuscrit révèle qu’il remplaça les riches pour donner aux pauvres est tout à fait Après la mort de Bizet, son collègue Ernest un mot, si l’Opéra était pour les gens de la l’ouverture, trop conventionnelle, de Halévy acceptable. Guiraud adapta l’œuvre selon la coutume: en haute – la noblesse et les milieux étrangers – par une première strophe de son cru,

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demandant alors à Halévy de reprendre le Finalement, compositeur et librettistes L’atmosphère dans un premier temps est Grâce aux rôles assez nombreux de soldats (il y flambeau en intégrant sa strophe à la chanson acceptèrent d’adoucir l’intrigue en y relativement légère, avec de nombreux clins en avait un de plus à l’origine, un certain populaire sur laquelle ce numéro est modelé. introduisant Micaëla: une gentille jeune fille, d’œil dans les dialogues parlés et des phrases Andrès) les jeunes ténors et basses pouvaient Bizet intervint aussi dans la scène des cartes. de bonne famille catholique, à laquelle le ambiguës (comme lorsque José fait briller son saisir leur chance; et les occasions de briller ne Mais l’influence la plus déterminante pour public pouvait s’identifier. Les librettistes épinglette ou encore les insultes obscènes manquaient pas non plus pour les danseurs l’opéra fut l’intervention du conseil inventèrent également un nouveau rôle de qu’échangent Carmen et Manuela à propos qui étaient mal payés par la compagnie, mais d’administration de l’Opéra-Comique lui- basse, celui d’Escamillo le toréador. On a bien d’ânes ou de manches à balais dont elles qui gagnaient souvent le soutien financier de même. du mal de nos jours à imaginer l’opéra sans ces auraient besoin pour leur plaisir.) Il y a riches mécènes, des hommes assez âgés qui les Les deux directeurs, de Leuven et du Locle, deux personnages! également certaines touches de couleur locale attendaient après le spectacle. avaient deux préoccupations principales. Tout Le dialogue parlé comme les textes des tout à fait charmantes et fort décoratives, en La source originale de l’opéra est une d’abord, dans une récente critique d’un autre passages chantés abondent en richesses. Qui particulier dans les trois airs de danses qui nouvelle de Prosper Mérimée, écrite après un opéra, la compagnie avait été accusée d’avoir d’autre que Bizet et ses collaborateurs aurait su présentent Carmen au public. Un autre facteur séjour de l’écrivain en Espagne en 1830 et manqué à la règle selon laquelle les spectacles exploiter avec un tel brio le mélange de discours contribuant à la poussée vers l’avant est publiée en 1842; un quatrième chapitre se devaient d’incorporer une proportion et de chant dans l’interrogation de Carmen par l’adoption progressive de musique entièrement consacré aux bohémiens fut ajouté substantielle d’éléments parlés. Ensuite, les Zuniga, lorsque les questions sont parlées et les ininterrompue au dernier acte dans le va-et- par la suite. La Carmen de l’opéra conserve de directeurs voulaient des œuvres qui plairaient à réponses de simples “tra la la” chantés? Et puis il vient étourdissant entre les fragments sonores nombreux détails de l’histoire de Mérimée, leur clientèle bourgeoise et rempliraient les y a la danse avec laquelle Carmen remercie José de la corrida et la dispute de José et Carmen. mais son époux, un meurtrier borgne, est passé quelques loges que se disputaient les familles de l’avoir libérée et où ses castagnettes Pour satisfaire au règlement de la sous silence. À un certain moment, le livret soucieuses de présenter leurs enfants en âge de s’opposent aux accents des clairons qui montent compagnie, l’opéra offre deux rôles de parade précise qu’il faut pour Carmen “Absolument le se marier. De Leuven fut horrifié à l’idée d’un des coulisses. Ce ne sont là que deux exemples pour les sopranos sous les traits de Frasquita et costume et l’entrée indiqués par Mérimée” et opéra basé sur l’histoire de Carmen. “Est-ce de l’imagination incroyablement fertile de Bizet Mercédès. Dans différentes interprétations, les les passages de dialogue parlé imitent de près qu’elle n’est pas assassinée par son amant?” qui continue aujourd’hui à nous émerveiller. rôles de ces deux chanteuses (deux rivales ceux de la nouvelle. Bien d’autres aspects du lança-t-il, indigné, à Halévy: Bizet fait également preuve d’une grande musicales, bien qu’un des rôles exige une livret sont des adaptations totalement libres – Et ce milieu de voleurs, de bohémiennes, de subtilité dans l’alternance du parlé et du tessiture plus élevée que l’autre) étaient comme la taverne de Lillas Pastia –, mais le cigarières!… À l’Opéra-Comique!… le Théâtre chanté. Contrairement aux simples “opéras à inversés. Parfois, elles partageaient les passages rôle important des danses est déjà évident chez des familles!… le Théâtre des entrevues de chansons” émaillés de dialogue, Carmen donne virtuoses, certainement en fonction de la Mérimée. mariages!… Nous avons, tous les soirs, cinq ou véritablement l’impression d’une progression, tessiture de chacune, mais aussi suivant que Le personnage de Don José est extrêmement six loges louées pour ces entrevues… Vous allez d’une poussée inexorable vers une fin tragique. l’Opéra-Comique voulait faire briller de tous adouci, peut-être même au point que, dans mettre notre public en fuite… C’est impossible! Plusieurs facteurs y contribuent. ses feux un nouveau talent dans la compagnie. l’opéra, sa faiblesse devient sa force. Dans la

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nouvelle, ce n’est pas un soldat mais un Mérimée ne fut pas le seul auteur du dix- touchant dans son portrait de l’innocente intentions de Bizet. Après tout, il avait bandit, toujours prêt à appuyer sur la gachette. neuvième siècle à être fasciné par la vie Micaëla de dix-sept ans, teintant sa musique certainement un seul but principal: d’assurer le Dans l’opéra, c’est un homme déchiré, un bohémienne et le tempérament bohémien. du son religieux des harpes. Et quel éclat dans succès de son opéra. À ces fins, il retoucha symbole même d’indécision. Dans son étude, l’un de ces auteurs fit allusion son portrait du toréador Escamillo, fanfaron l’œuvre en répétition, puis d’autres en firent de Le reste est en grosse partie l’invention des à plusieurs caractéristiques explorées dans désinvolte et machiste! Si cet opéra est un même, parfois au bénéfice de l’opéra. Ainsi, la librettistes, mais de très nombreux détails sont l’opéra: le refus des gitans de broncher sous la véritable melting-pot, il fut néanmoins créé scène de l’interrogation de Carmen – ses “tra la fidèles à la réalité – Meilhac et Halévy étaient menace ou la torture, leur manque de respect par trois génies de la scène et continue à la” – est un peu trop travaillée dans la première célèbres pour leur amour du réalisme. Non envers les autorités occidentales, leur amour du exercer une fascination sans égale sur les édition et la version plus condensée qui suivit seulement ajoutent-ils le personnage tabac et des boissons fortes, leur amour des interprètes et les metteurs en scène comme sur est, à mon avis, nettement meilleure. d’Escamillo, mais aussi tous les détails de la bonbons et des casse-croûte plutôt que des le public. J’ai décidé de baser l’édition sur les corrida, et le défilé vers l’arène est modelé sur “vrais” repas et, bien entendu, les caprices de premières représentations qui eurent lieu à ce qui se passait dans la réalité. De même, leurs femmes. Note sur l’édition l’Opéra-Comique, et à cet égard je me suis l’idée d’opposer la fabrique de cigares au poste Les bohémiens étaient également réputés Ma première tâche dans la préparation d’une appuyé essentiellement sur les parties de garde – et donc de juxtaposer pour leur talent musical, même s’il s’agissait édition pour l’enregistrement que voici était de orchestrales (car ce sont les meilleures sources respectivement un centre de désordre et un avant tout de talent d’improvisation. Mais c’est produire un texte propre et clair pour les pour savoir ce qui se passait véritablement dans centre d’ordre – est un stratagème qui oppose bien là que réside le génie de Bizet. Dans la musiciens, basé sur la version de l’Opéra- la fosse d’orchestre) ainsi que sur la première adroitement deux thèmes essentiels de Havanaise, la Séguedille et la “Chanson Comique. David Parry se chargea de traduire le partition vocale à avoir été publiée (car c’est l’opéra. Séville était en effet célèbre pour sa Bohème” de Carmen, le compositeur introduit livret et conserva l’essence des sections parlées: celle dont se servait les chanteurs). Il existe fabrique de cigares (aujourd’hui occupée par pour la première fois à l’opéra un pastiche de elles sont essentielles pour comprendre également une précieuse partition manuscrite l’université) qui n’employait que des femmes, l’authentique musique bohémienne, créant des pleinement Carmen. Une question cruciale ne qui servit de nombreuses années durant à souvent des prostituées assagies et de jeunes pièces à vous mettre en transe, basées sur le tarda pas à surgir: parmi les nombreuses l’Opéra-Comique avant la publication d’une mères d’enfants illégitimes. La présence rythme et la répétition plutôt que sur des versions de l’Opéra-Comique, laquelle fallait-il partition orchestrale imprimée. d’enfants dans l’opéra prouve-t-elle que les accords raffinés. Ces chansons nous présentent utiliser? Les éditions les plus récentes s’appuient Cette édition, qu’il est possible de louer librettistes connaissaient la réputation de Carmen non seulement à l’aide de paroles et surtout sur ce qu’on appelle souvent les auprès de Peters Edition Ltd, fut réalisée avec cette fabrique – sinon directement, du moins de musique, une musique diamétralement “intentions de l’auteur”. Il existe à ce jour une l’aide de la musicologue Clair Rowden, dont la peut-être à travers les illustrations de opposée à celle de Micaëla, mais aussi grâce à partition pour l’essentiel de la main de Bizet. participation fut aimablement financée par la Gustave Doré qui avait ramené à Paris un un déploiement visuel de danses sensuelles et Mais si nous l’avions suivie aveuglément, nous Peter Moores Foundation. Une partition large dossier de dessins faits à l’intérieur de la de mouvements aguichants. aurions fini sur une mauvaise piste, vocale est en cours de préparation pour cette fabrique? Par contre, Bizet ne saurait être plus probablement sans rendre justice aux même maison d’édition, partition en anglais et

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en français dans laquelle je propose plusieurs Acte I Prélude retentit à nouveau, dans un registre apprend à José qu’elle lui a apporté un baiser variantes ainsi qu’une documentation copieuse 2 Une scène de rue à Séville. D’un côté de la aigu, Carmen apparaît. “Et dis-nous quel jour de sa mère. José est au comble de la joie. 16 Il sur les premières représentations, sous forme place se dresse la manufacture de tabac, de tu nous aimeras!” demandent les jeunes gens. voit le visage de sa mère et se lance dans un de descriptions et d’illustrations. Il s’agira non l’autre côté le corps de garde. Assis, des Carmen les taquine: pas aujourd’hui, c’est duo avec Micaëla tandis que les souvenirs seulement d’une édition pour la scène, mais dragons fument en regardant la foule. 3 Une certain. 11 C’est alors qu’elle entonne sa resurgissent. José se demande si ce baiser a aussi d’une partition de travail pour les jeune femme attire le regard des soldats. C’est première mélodie sur un air de danse, la pour but d’écarter un péril imminent, à savoir étudiants et les amateurs d’opéra. Une Micaëla, à la recherche de Don José. Moralès, célèbre Havanaise: “L’amour est un oiseau Carmen. Micaëla est perplexe, mais José partition orchestrale est également prévue. un officier, lui dit que José ne sera de garde rebelle que nul ne peut apprivoiser.” Le chœur change de sujet. 17 José lit la lettre de sa mère que plus tard et il lui suggère d’entrer au corps se fait l’écho de ses paroles. qui lui conseille d’épouser Micaëla. © 2003 Richard Langham Smith de garde, une invitation qu’elle refuse 12 Soudain l’atmosphère s’assombrit avec le 18 – 19 On entend une grande rumeur et Traduction: Nicole Valencia poliment. retour du motif menaçant, et la tension monte les cigarières appellent au secours. Carmen a 4 – 6 Une fanfare annonce le jusqu’au moment où Carmen parle pour la été insultée et une fille a été attaquée. Zuniga Synopsis changement de la garde, puis l’on entend les première fois à José pour lui demander ce qu’il donne l’ordre à José d’aller enquêter. Les filles fifres et les clairons d’une marche militaire. La fait. Il lui répond simplement qu’il est occupé, sont divisées quand on leur demande qui a DISQUE COMPACT UN garde montante arrive, précédée d’un groupe mais continue à briller son épinglette; elle commencé la querelle. Carmen dit qu’elle a été de gamins qui imitent le pas des dragons. Une prend de son corsage une fleur de cassie, la lui provoquée et 20 Zuniga l’interroge. À chacune 1 Le Prélude se caractérise par une grande autre fanfare retentit durant le changement de lance et s’enfuit tandis que les cigarières de ses questions, elle lui répond “Tra la la la la animation aux cordes, les sifflements des la garde. 7 José et le capitaine Zuniga retournent au travail. 13 José respire le parfum la la la”. Zuniga ordonne à José de lui lier les piccolos et des cuivres improvisateurs. On discutent de la manufacture de tabac et des entêtant de la fleur. mains et de l’emmener en prison. dirait une musique de plein air, une fanfare filles qui y travaillent. Micaëla revient et José l’accueille avec joie; 21 José et Carmen se mettent à parler avant militaire peut-être. Un second thème 8 La cloche sonne dans la manufacture et elle est de son village. Lorsqu’elle lui apprend de partir pour la prison. Après avoir essayé principal, rythmé par les cuivres, s’avère être la place s’emplit de jeunes gens. 9 Les filles qu’elle vient de la part de sa mère, 14 José se plus d’une fois, mais en vain, de gagner José à celui du toréador Escamillo. Après une pause sortent en masse de la manufacture, cigarette met à chanter: “Parle-moi de ma mère!” sa cause, elle le défie de reconnaître qu’il l’aime fort dramatique, la musique se fait nettement aux lèvres, et déclarent en chantant que le Micaëla lui a apporté de l’argent, une lettre et et qu’il est prêt à faire tout ce qu’elle voudra. Il plus sombre. Des cordes tremolando tabac fait oublier et que les serments des puis une autre chose qui a bien plus de prix…; nie bien sûr, mais, de toute évidence, il est accompagnent un motif sinueux qui reviendra amants ne sont que fumée. Les jeunes gens les “Cette autre chose, quelle est-elle? Parle amoureux. 22 Elle entonne sa deuxième à plusieurs reprises. S’agit-il du thème de supplient d’être moins froides. donc…” demande José. 15 La musique prend mélodie sur un air de danse, la Séguedille. Elle Carmen, imitant une gamme bohémienne? Ou 10 Les soldats s’aperçoivent que Carmen une teinte quasiment religieuse, harpes et y parle d’une auberge sur les remparts tenue bien s’agit-il du destin? n’est pas sortie. Alors que le motif sinistre du cordes accompagnant Micaëla tandis qu’elle par un certain Lillas Pastia. Carmen dit qu’elle

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est amoureuse d’un brigadier. José comprend 33 Les bohémiens mettent au point une affaire maintenant un déserteur aux yeux de l’armée. 16 Micaëla apparaît, accompagnée d’un qu’elle parle de lui et lui demande si elle de contrebande, sous la direction de Dancaïre 7 – 8 Les bohémiens maîtrisent Zuniga et guide. 17 Dans son aria, “Je dis que rien ne promet de l’aimer en échange de sa liberté. Ils et Remendado. 34 – 35 Dans un Quintette, proposent à José un moyen de s’en sortir: il m’épouvante”, elle avoue aimer José. 18 Se boiront du Manzanilla et danseront des les hommes supplient Carmen et ses amies de devra se joindre à leur bande. cachant derrière un rocher, elle observe séguedilles, lui promet-elle. Tra la la la la. José les aider. Carmen, à la surprise générale, avoue José tandis qu’Escamillo fait son entrée. délie la corde autour des poignets de Carmen. être amoureuse. Les hommes lui rappellent 9 Entr’acte 19 – 20 Escamillo avoue son amour pour 23 L’acte s’achève tandis que Carmen que son devoir de bohémienne passe en Carmen, ignorant que José se considère encore fredonne un extrait de sa Havanaise au nez de premier. Carmen n’est pas d’accord: pour elle, Acte III comme son amant. José le force à se battre, Zuniga, puis s’enfuit, ayant fait semblant de c’est l’amour qui passe avant tout. 36 On Un coin sauvage dans la montagne. 10 Des une bagarre qu’il a tôt fait de perdre, mais pousser José qui s’est laissé renverser. entend José chanter au loin. Carmen est bohémiens et une troupe de contrebandiers Escamillo refuse de le tuer. José insiste pour contente de le voir et paie ses dettes en lui marchent tout en chantant. 11 Dans un qu’ils continuent à se battre et 24 Entr’acte commandant à manger et du Manzanilla. dialogue particulièrement tendu, José révèle à lorsqu’Escamillo glisse, José s’apprête à le tuer Carmen que la maison de sa mère n’est pas lorsque 21 Carmen, entrée précipitamment, Acte II DISQUE COMPACT DEUX loin. Elle le raille en suggérant que sa place l’en empêche. Escamillo la remercie et propose L’auberge de Lillas Pastia. 25 Des bohémiens y véritable est auprès de sa mère. “Tu es le à José une “belle”. 22 Remendado découvre côtoient des officiers et Carmen danse son 1 Elle annonce aussi qu’elle va danser pour diable, Carmen?” lui demande-t-il. “Mais oui, Micaëla dans sa cachette. Elle entonne à troisième air de danse avec Frasquita et lui. 2 Durant la danse, les clairons de la je te l’ai déjà dit”, rétorque-t-elle. nouveau sa très belle première aria, sur fond de Mercédès, ses amies bohémiennes. La danse retraite retentissent au loin. Carmen trouve 12 Frasquita et Mercédès lisent leur avenir harpes, rappelant une fois encore à José sa devient de plus en plus frénétique. 26 Zuniga qu’ils accompagnent parfaitement sa chanson, dans des cartes et la chance semble leur sourire: mère, maintenant triste et solitaire. Les demande aux filles d’aller au théâtre en sa mais José déclare qu’il doit rentrer à la caserne. la première trouve un bon amoureux, la seconde bohémiens s’unissent à Micaëla pour compagnie et celle des autres soldats, mais elles 3 Ils se disputent. Carmen ne voit dans le un riche amant. Mais les cartes de Carmen convaincre José de rentrer chez lui: “Il t’en refusent. souhait de José de retourner au camp qu’un annoncent la mort: “moi d’abord, ensuite lui”. coûtera la vie… si tu ne pars pas”, lui 27 Un chœur signale l’arrivée imminente démenti de l’amour qu’il lui porte. 4 En Le motif funeste retentit à nouveau. 13 Carmen affirment-ils. Alors que José proteste qu’il ne d’Escamillo. 28 – 29 Les officiers commandent ultime gage de sa passion, il chante une chante sa première aria véritable, une méditation saurait quitter Carmen, 23 Micaëla lui à boire pour l’accueillir. 30 Il chante ses tendre aria sur la fleur qu’elle lui avait jetée. sur la sincérité des cartes qui ne mentent jamais. apprend que sa mère est mourante. Cela le fameux Couplets où se mêlent les descriptions 5 Carmen lui déclare que leur amour ne 14 – 15 Les bohémiens préparent leur décide à partir. Mais dans son adieu à Carmen de ses conquêtes féminines et de celles dans survivra que s’ils s’enfuient dans un pays embuscade et demandent à Carmen et aux deux il promet qu’ils se reverront. Escamillo se l’arène. 31 – 32 Escamillo s’intéresse à lointain. Quelqu’un frappe à la porte: autres bohémiennes de séduire les douaniers. prépare pour la corrida en chantant des bribes Carmen, mais cette dernière le repousse. 6 Zuniga entre et aperçoit José qui est José est jaloux. de son aria.

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24 Entr’acte l’ai tuée!” s’écrie José. “Ah! Carmen! ma de Covent Garden, elle a chanté dans Mosè in du Festival de Bregenz. Son vaste répertoire Carmen adorée!” Egitto, Guillaume Tell, Rigoletto, Mefistofele et comprend les rôles de Susanna (Le nozze di Acte IV La fanciulla del West. Figaro), Donna Elvira (Don Giovanni), L’entr’acte, de style espagnol, nous amène © 2003 Richard Langham Smith Elle s’est produite en concert et en récital Marzelline (Fidelio), Adina (L’elisir d’amore), sur une place de Séville, non loin de l’arène. Traduction: Nicole Valencia dans l’Europe entière, aux États-Unis et au Oscar (Un ballo in maschera), Mimì 25 Des marchands y vendent des éventails, Japon, aux côtés de chefs d’orchestre tels (La bohème), Anne Trulove (The Rake’s des glaces, des oranges et des cigarettes. Zubin Mehta, Bernard Haitink, Claudio Progress) et le rôle-titre de La Petite Renarde Zuniga entre, accompagné de Frasquita et Originaire de Dublin, la mezzo-soprano Abbado, Antonio Pappano et Sir Charles rusée. Elle a chanté Donna Elvira pour le Mercédès. 26 La musique qui ouvre le Patricia Bardon fit ses études avec le Mackerras. Elle fut aussi invitée à chanter à Glyndebourne Touring Opera, créant Prélude retentit une fois encore, cette Dr Veronica Dunne au College of Music de Buckingham Palace dans le cadre d’un concert également pour cette compagnie le rôle de fois-ci avec un chœur annonçant l’arrivée de Dublin et attira l’attention lorsqu’elle devint la en l’honneur des cinquante ans du prince Tina dans Flight de Jonathan Dove, rôle la procession. Escamillo apparaît enfin, plus jeune lauréate du Concours du Cardiff Charles. Elle figure sur l’enregistrement qu’elle a repris avec le Glyndebourne Carmen à ses côtés. 27 Ils chantent un Singer of the World. Chanteuse lyrique de d’Eugène Onéguine réalisé par Chandos en Festival Opera. duo dans lequel il la courtise. Elle lui déclare stature internationale, elle a tenu le rôle-titre collaboration avec la Peter Moores Mary Plazas a donné concerts et récitals, son amour dans le tumulte du défilé. de Tancredi au Teatro la Fenice à Venise, Foundation. entre autres des récitals en soliste au Wigmore Les amies de Carmen la préviennent qu’un de Carmen à l’Opéra de Hambourg, de Hall, à la Purcell Room et au Centre Karajan à danger la menace: José se cache dans les La Cenerentola au Théâtre de la Monnaie à La soprano Mary Plazas fit ses études au Royal Vienne; elle s’est aussi produite dans le cadre parages. Bruxelles, de Tamerlano à Beaune et d’Orlando Northern College of Music à Manchester avec de nombreux festivals. Son répertoire de 28 Don José émerge de la foule, suppliant à New York, Paris, Lyon et Anvers. Elle a Ava June. Lauréate de plusieurs prix, dont le concert comprend Die Schöpfung de Haydn, Carmen de reprendre la vie à ses côtés. Il lui également été Penelope (Il ritorno d’Ulisse in Kathleen Ferrier Memorial Scholarship en A Child of Our Time de Tippett, Das Paradies demande si elle l’aime encore. “Non! je ne patria) et Anna (Les Troyens) au Mai Musical 1991, elle a également bénéficié d’importantes und die Peri de Schumann et Chants t’aime plus”, répond-elle. 29 On entend à de Florence, Arsace (Semiramide) au Teatro la bourses de la Peter Moores Foundation et du d’Auvergne de Canteloube. Elle figure sur les nouveau le chœur de la corrida: Escamillo a Fenice, Cornelia (Giulio Cesare) et Amastris Countess of Munster Musical Trust. Elle a fait enregistrements d’Emma d’Antiochia de triomphé et Carmen avoue alors l’aimer. Elle (Serse) à l’Opéra de Munich et à Dresde, ses débuts lyriques en 1992 avec l’English Mercadante et de Maria, regina d’Inghilterra de jette la bague que José lui avait jadis donnée. Ursule (Béatrice et Bénédict) à Amsterdam et National Opera, interprétant la Voix Céleste Pacini pour Opera Rara et a enregistré les rôles C’en est trop pour José. La musique passe de Smeton (Anna Bolena) à San Francisco. Elle a dans Don Carlos. Elle a chanté avec les plus de Zerlina (Don Giovanni), Adina, Marguerite celle de la corrida à l’air du toréador. José fréquemment chanté avec Opera North, le grandes compagnies lyriques britanniques, (Faust) et Liù (Turandot) pour Chandos en frappe Carmen. Comme elle meurt, Escamillo Welsh National Opera, Scottish Opera et le avec le New Israeli Opera et le Metropolitan collaboration avec la Peter Moores émerge aux portes de l’arène. “C’est moi qui Glyndebourne Festival Opera; au Royal Opera Opera de New York ainsi que dans le cadre Foundation.

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Julian Gavin naquit à Melbourne en Australie Juliette); et Don José pour Opera Australia. Il a chanté avec l’English National Opera, Opera Northern Ireland, le Glyndebourne et fit ses études dans sa ville natale. Après avoir Il a chanté en concert Rodolfo (Luisa Miller), l’Opera North, le Royal Opera de Covent Touring Opera et Garsington Opera. Elle a été obtenu un diplôme supérieur de direction, il Arrigo (La battaglia di Legnano) ainsi Garden, le Welsh National Opera, l’Opéra des entre autres Blonde (Die Entführung aus dem partit s’installer en Angleterre et poursuivit sa qu’Ismaël (Nabucco) sous la direction de Flandres, l’Opéra de Monte-Carlo, le Théâtre Serail ), Cherubino et Susanna (Le nozze di formation au National Opera Studio. Il fit ses Sir Edward Downes. de la Monnaie à Bruxelles, l’Opéra Figaro), Papagena (Die Zauberflöte), Norina débuts sur la scène lyrique britannique dans le Parmi ses enregistrements, notons Godvino Néerlandais, le Deutsche Oper Berlin ainsi (Don Pasquale), Adina (L’elisir d’amore), rôle d’Alvaro dans la mise en scène de (Aroldo), Les Contes d’Hoffmann, le Requiem et que le Florida Grand Opera. Il s’est produit en Ninetta (La gazza ladra), Elvira (L’italiana in l’English National Opera de La forza del Rigoletto de Verdi, Psalmus Hungaricus de concert et en récital ainsi que dans le cadre de Algeri), Fiorilla (Il turco in Italia), Marzelline destino, enchaînant avec le rôle de Laca dans Kodály et Roméo et Juliette de Gounod, ainsi festivals aussi bien en Grande-Bretagne qu’à (Fidelio), Micaëla, Poussette (Manon), Nanetta Jenuofa avec Opera North. que Ernani pour Chandos en collaboration l’étranger dans un répertoire où figurent entre (Falstaff ), Lisette (La rondine) et Anne Trulove Pour l’English National Opera, Julian Gavin avec la Peter Moores Foundation. Il a autres le Magnificat et la Passion selon saint (The Rake’s Progress). Elle s’est produite au a été entre autres Pinkerton (Madama également participé à une série télévisée de la Jean de Bach, Ein deutsches Requiem de Royal Albert Hall, au Barbican Centre et au Butterfly), Cavaradossi (Tosca), le duc BBC en six épisodes, Top Score, sur la création Brahms, la cantate Printemps de Rachmaninov, Royal Festival Hall, dans le cadre des Festivals (Rigoletto), tenant également le rôle-titre dans d’un opéra inspiré de La bohème. Das Berliner Requiem de Kurt Weill, West Side de Batignano, Aix-en-Provence et Buxton, à de nouvelles mises en scène de Ernani et des Story de Bernstein et le War Requiem de l’Opéra des Flandres; elle a également chanté Contes d’Hoffmann. En 1996, Julian Gavin fit Le baryton Garry Magee, diplômé de la Britten. Sa discographie comprend le rôle-titre le Messiah avec l’Orchestre national de ses débuts au Royal Opera de Covent Garden Guildhall School of Music and Drama et du de Don Giovanni ainsi que Valentin dans Belgique. dans le rôle-titre de Don Carlos sous la National Opera Studio, remporta le Premier Faust, deux enregistrements réalisés par direction de Bernard Haitink, reprenant ce Prix du Concours Kathleen Ferrier en 1995 et Chandos en collaboration avec la Peter Moores La soprano Sally Harrison fit ses études au rôle dans le cadre du Festival d’Edimbourg de fut l’année suivante l’un des lauréats du Foundation. Royal Northern College of Music avec l’aide 1998. Il a aussi interprété Alfredo (La traviata) Concours international Belvedere à Vienne; il d’une bourse de la Peter Moores Foundation, pour Den Norske Opera à Oslo, Opera étudie à l’heure actuelle avec Robert Dean. Il a Née à Cork, la soprano Mary Hegarty fit ses puis au National Opera Studio. Avec l’English Australia et l’English National Opera ainsi que été entre autres Guglielmo (Così fan tutte), études à la Cork School of Music, puis au National Opera, elle a été Despina (Così fan Rodolfo (La bohème), Laca, Carlo (Giovanna Papageno (Die Zauberflöte), le Docteur National Opera Studio à Londres. Lauréate du tutte), Papagena et Pamina (Die Zauberflöte), d’Arco) et le rôle-titre de Don Carlos pour Malatesta (Don Pasquale), Figaro (Il barbiere di Golden Voice of Ireland, elle représenta son Giannetta (L’elisir d’amore), Lidka (Les Deux Opera North; Des Grieux (Manon Lescaut) Siviglia), Marcello et Schaunard (La bohème), pays natal au Concours du Cardiff Singer of Veuves de Smetana), Frasquita, Chloë avec l’Orchestre philharmonique d’Israël; Sharpless (Madama Butterfly) et Harry Heegan the World. En Grande-Bretagne, elle a chanté (La Dame de Pique) et Yum Yum (The Pollione (Norma) à Lucerne; Pinkerton pour (The Silver Tassie), tenant par ailleurs le rôle- avec le Royal Opera de Covent Garden, Mikado); elle a chanté Musetta (La bohème) et Deutsche Oper à Berlin; Roméo (Roméo et titre de Don Giovanni et de Eugène Onéguine. l’English National Opera, Opera North, Polly Peachum (Die Dreigroschenoper) à

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Scottish Opera et la Comtesse (Le nozze di Il a également interprété un vaste répertoire également produit à l’Opera Northern Ireland, Schaunard (La bohème). Il a chanté Guglielmo Figaro) avec l’Opera Theatre Company à de concert allant de la Passion selon saint Jean au Garsington Opera et au Festival d’Aix-en- (Così fan tutte) au Festival d’Aix-en-Provence, Dublin. Parmi ses autres interprétations sur le de Bach et le Messiah de Haendel, en passant Provence. Mars et Euro dans Il pomo d’oro de Cesti au sol britannique, notons Poppea (Agrippina de par les Requiem de Mozart et Verdi, la Petite Mark Le Brocq s’est produit en récital et Festival de Batignano, Schaunard au Festival Haendel) au Festival de Buxton, Galatea (Acis Messe solennelle de Rossini et Elijah de dans des oratorios aux États-Unis, en France, de Bregenz ainsi que Grimbald et Aeolos dans and Galatea) à l’English Bach Festival et Gilda Mendelssohn, juqu’à la Messe glagolithique de en Allemagne, en Espagne, au Proche-Orient, King Arthur de Purcell au Festival de Kings (Rigoletto) au Bath and Wessex Opera. En Janácˇek ainsi que Les Illuminations et la et dans toutes les grandes salles de Londres. Lynn dans le Norfolk. Son répertoire concert, elle a chanté Esther et le Messiah de Sérénade pour ténor, cor et cordes de Britten. Il Il a chanté avec le Gabrieli Consort sous la d’oratorio comprend les Requiem de Mozart et Haendel, la Messe en ut mineur et Exsultate, figure sur les enregistrements de Lucia di direction de Paul McCreesh dans des festivals à Fauré, Die Schöpfung de Haydn et la Messe en jubilate de Mozart ainsi que Carmina burana Lammermoor, Ernani et Turandot réalisés par travers l’Europe. Parmi ses enregistrements, on si mineur de Bach. de Carl Orff. Chandos en collaboration avec la Peter Moores citera Il trovatore et Turandot pour Chandos et Foundation. la Peter Moores Foundation, Samson, Judas Le baryton-basse Nicholas Garrett fit ses Le ténor Peter Wedd fit ses études à la Maccabaeus, Hail Bright Cecilia de Purcell, études au Trinity College of Music et bénéficie Guildhall School of Music and Drama avec Mark Le Brocq a été boursier en chant choral Utrecht Te Deum de Haendel et I Was Glad de d’une bourse de la Wolfson Foundation. William McAlpine ainsi qu’au National au St Catharine’s College de Cambridge où il a Boyce. Il a été Sourin (La Dame de Pique) pour Opera Studio grâce au soutien financier de la étudié la littérature anglaise. Il a obtenu une Scottish Opera, Sparafucile et le comte Peter Moores Foundation. Il a été Cascada bourse d’entrée à la Royal Academy of Music Le baryton Toby Stafford-Allen fit ses études Monterone (Rigoletto), Figaro (Le nozze di (Die lustige Witwe) au Royal Opera de Covent de Londres pour y étudier avec Kenneth avec Robert Alderson au Royal Northern Figaro) et Nourabad (Les Pêcheurs de perles) Garden, Federico (L’Arlesiana) et Pluton Bowen, puis a poursuivi sa formation au College of Music où il chanta entre autres le avec l’English Touring Opera, Escamillo, (Orphée aux enfers) pour Opera Holland Park, National Opera Studio de Londres. rôle de Figaro (Le nozze di Figaro), le rôle-titre Don Basilio (Il barbiere di Siviglia) et le rôle- Don José et Tamino (Die Zauberflöte) au Il a été “Company Principal” à l’English dans la version pour baryton de Werther ainsi titre de Don Giovanni avec Opera Holland Welsh National Opera. Son répertoire National Opera où il a incarné de nombreux que le Contremaître du moulin ( Jenu˚fa). Park. Il a récemment chanté Escamillo et comprend aussi les rôles d’Edgard (Lucia di rôles, notamment Tamino (Die Zauberflöte), À sa sortie du College, il devint membre Dancaïre dans la nouvelle mise en scène de Lammermoor), de Rodolphe (La bohème), Paris (King Priam), le comte Almaviva de l’English National Opera; avec cette Carmen par Opera North. Il a fait ses débuts d’Eisenstein (Die Fledermaus) et de Lysander (Il barbiere di Siviglia), Narraboth (Salome), compagnie et d’autres troupes britanniques, au Royal Opera de Covent Garden dans des (A Midsummer Night’s Dream) ainsi que le Don Ottavio, Monostatos, Rodriguez (dans il a été Valletto (L’incoronazione di Poppea), représentations de Palestrina de Pfitzner et à rôle-titre des Contes d’Hoffmann. De 1999 à Don Quixote de Massenet), Odoardo Henry (The Fairy Queen), Papageno l’English National Opera dans le rôle du 2001 il fut l’un des chanteurs vedettes du (Ariodante), le Docteur Maxwell (The Silver (Die Zauberflöte), Fiorello (Il barbiere di baron Douphol dans La traviata. Il s’est Royal Opera. Tassie), et Siward (A Better Place). Il s’est Siviglia), le baron Douphol (La traviata) et produit en dehors de la Grande-Bretagne,

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à l’Opéra national de Paris-Bastille et à Le New London Children’s Choir a été fondé Philharmonia Orchestra n’a cessé d’attirer discographie aussi importante, avec plus de l’Opéra de Nantes. Son répertoire de en 1991 par son directeur musical Ronald certains des plus grands chefs d’orchestre du mille disques à son actif. Notons entre autres concert comprend tous les grands oratorios Corp dans le but de permettre à des enfants de vingtième siècle. Certains furent associés de plusieurs disques d’airs d’opéra pour Opera ainsi que des œuvres du vingtième siècle chanter tous les genres de musique, et ainsi près à l’Orchestre: Otto Klemperer (son tout Rara ainsi que onze intégrales d’opéras comme Sinfonia de Berio qu’il interpréta leur faire écouvrir les exigences et les joies du premier chef principal), Lorin Maazel, (Ugo, conte di Parigi, Ne m’oubliez pas, Emilia dans le cadre du Festival Boulez à Tokyo chant. Depuis, le Chœur s’est produit dans Riccardo Muti, Giuseppe Sinopoli, Carlo di Liverpool, L’assedio di Calais, Rosmonda en 1995. toutes les grandes salles de concert de Londres, Maria Giulini, Sir Andrew Davis, Vladimir d’Inghilterra et Maria de Rudenz de Donizetti, il a travaillé avec les plus importants chefs et Ashkenazy et Esa-Pekka Salonen. Sous la Dinorah de Meyerbeer, Medea in Corinto Durant sa carrière de chanteur, Geoffrey orchestres symphoniques de Grande-Bretagne, direction de leur chef principal actuel, de Mayr, Orazi e Curiazi de Mercadante, Mitchell aborda un répertoire et a collaboré avec des théâtres lyriques en Christoph von Dohnányi, et celle de Leonard Maria, regina d’Inghilterra de Pacini et remarquablement varié, depuis la musique Grande-Bretagne et à l’étranger. Il a réalisé de Slatkin, leur chef principal invité, l’Orchestre Otello de Rossini). L’Orchestre a fait de ancienne jusqu’à la musique contemporaine, se très nombreux enregistrements et s’est produit s’est fermement installé au cœur de la vie nombreux disques pour Chandos, en produisant en Scandinavie, en Allemagne, fréquemment à la radio et dans de nombreux musicale britannique, non seulement à particulier, dans la série Opera in English dans l’ancienne Tchécoslovaquie, au Canada et festivals importants. Londres puisqu’il est orchestre en résidence au financée par la Peter Moores Foundation, tels en Australasie. Après avoir fait ses premières La vaste discographie du New London Royal Festival Hall, mais aussi en province où Don Giovanni, L’elisir d’amore, Lucia di armes de chef d’orchestre avec la BBC, il Children’s Choir compte entre autres Casse- il se produit régulièrement. Lammermoor, Faust, Aida, La bohème, décida de prendre une part active dans ce Noisette de Tchaïkovski, les Chants de les forêts Le Philharmonia Orchestra a remporté Madama Butterfly, Turandot, la version primée domaine avec ses propres chanteurs et fonda le de Chostakovitch, Ivan le Terrible de Prokofiev, plusieurs prix importants et soulevé de Tosca et des récitals solistes d’airs d’opéra Geoffrey Mitchell Choir. Par suite de ses Bethlehem de Rutland Boughton, Hugh the l’enthousiasme des critiques pour la vitalité et avec Bruce Ford, Diana Montague, Dennis premiers enregistrements l’ensemble travaille Drover de Vaughan Williams, la Troisième la chaleur exceptionnelle de son jeu. On a O’Neill, Alastair Miles, Yvonne Kenny et John depuis longtemps avec Opera Rara pour qui il Symphonie de Mahler, The Planets de Holst, aussi fait l’éloge de ses programmes novateurs Tomlinson. a réalisé plus de trente enregistrements. Ce St Nicolas et A Midsummer Night’s Dream de dans lesquels l’ensemble s’engage à interpréter Chœur ne cesse d’élargir sa réputation, Britten. Il a également enregistré pour le et commander des œuvres nouvelles par les Après avoir étudié avec Sergiu Celibidache, travaillant avec la BBC et plusieurs maisons de cinéma et assuré la création de plus de trente plus grands compositeurs contemporains, David Parry commença sa carrière comme disques internationales. Pour Chandos, le partitions contemporaines. comme James MacMillan, son actuel assistant de Sir John Pritchard. Il fit ses débuts Geoffrey Mitchell Choir a participé à plusieurs compositeur en résidence. avec l’English Music Theatre avant de devenir enregistrements pour Opera in English, une Depuis ses excellents débuts en 1945, lorsqu’il L’Orchestre fait souvent des tournées l’un des chefs d’orchestre au Städtische série de disques très prisés financée par la Peter fut fondé par Walter Legge essentiellement internationales; aucun autre orchestre Bühnen à Dortmund et à Opera North. Moores Foundation. pour jouer dans des enregistrements, le symphonique dans le monde ne possède une Directeur musical d’Opera 80 de 1983 à 1987,

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il est directeur musical d’Almeida Opera nouvelles productions dont Fidelio au Festival depuis sa fondation en 1992. de Nouvelle-Zélande, Lucia di Lammermoor Sa carrière, nationale et internationale, est avec le New Israeli Opera et Don Giovanni a extrêmement remplie, aussi bien sur la scène l’Opéra d’état de Hannover. lyrique qu’en concert. Il a dirigé plusieurs En studio, il a participé entre autres Schwiertz Suzanne productions de l’English National Opera et de à la production de la BBC Television de l’Opera North et collabore régulièrement avec Der Vampyr de Marschner, dirigeant aussi le Philharmonia Orchestra et le London vingt-huit intégrales d’opéras financées par la Philharmonic Orchestra. C’est avec Così fan Peter Moores Foundation. Plusieurs de ces tutte qu’il fit ses débuts au Festival de intégrales furent enregistrées pour Opera Rara Glyndebourne en 1996, une scène qu’il et primées, Rosmonda d’Inghilterra de Donizetti retrouva en 1998 pour diriger la création recevant en Belgique le Prix Cecilia. Pour mondiale de Flight de Jonathan Dove. Chandos, David Parry a dirigé une série Il séjourne fréquemment en Espagne où il a d’enregistrements d’airs d’opéra (avec Bruce dirigé en concert la plupart des grands Ford, Diana Montague, Dennis O’Neill, orchestres espagnols. C’est lui qui dirigea la Alastair Miles, Yvonne Kenny, John Tomlinson, première espagnole de Peter Grimes à Madrid Della Jones et Andrew Shore) de même que et en 1996 la première production espagnole Don Giovanni, Don Pasquale, L’elisir d’amore, de The Rake’s Progress. Il a dirigé en Allemagne, Lucia di Lammermoor, Ernani, Il trovatore, en Suisse, aux Pays-Bas, au Festival de Pesaro Aida, Faust, Cavalleria rusticana, Pagliacci, en Italie, au Festival international de Hong- La bohème, Turandot, l’enregistrement primé de Kong, au Japon pour une tournée de Carmen Tosca et des extraits de Der Rosenkavalier, tous et au Mexique avec l’Orchestre symphonique ces enregistrements étant réalisés en d’UNAM. Il a récemment dirigé plusieurs collaboration avec la Peter Moores Foundation.

Julian Gavin as Don José in Zürich Opera’s 2002 production of Carmen

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normalmente in questa versione durante il esiste ancora a Parigi ed è possibile visitarla. Bizet: Carmen Ventesimo secolo. Carmen fu composta per la seconda Salle Di recente, la tendenza prevalente è stata il Favart, che sarebbe stata distrutta da un Carmen di Bizet è forse l’opera più famosa di Per una lettura approfondita dell’opera, è ritorno al formato dell’“opéra comique”, un incendio nel maggio del 1887. Per molti versi, tutti i tempi. Ne esistono più di ottanta utile sapere qualcosa del miscuglio di termine che merita di essere illustrato, l’opera rispecchia gli ultimi tre significati della versioni per lo schermo e almeno altrettanti ingredienti disparati che la costituiscono e soprattutto perché ha quattro significati parola: è un’“opéra comique”, rispetta le adattamenti diversi: è uno di quei capolavori delle due modalità diverse adottate per il suo diversi. “Opéra comique” può essere inteso condizioni richieste dall’Opéra-Comique e fu che svelano nuovi segreti ogni volta che allestimento. La prima della versione originale letteralmente, ma Carmen chiaramente non ha rappresentata per la prima volta all’Opéra- vengono riproposti. Il fascino principale si svolse presso l’Opéra-Comique di Parigi nel nulla di comico. Nel secondo senso, si tratta di Comique. dell’opera sta naturalmente nel personaggio marzo del 1875, e rispettava la condizione che un lavoro teatrale in cui gli attori abbinano il Il successo di Carmen è in gran parte della zingara protagonista. E nonostante tutti gli spettacoli di questo teatro abbinassero discorso, spesso il dialogo, con il canto. Il al suo eccellente libretto, creato da due autori Carmen abbia avuto tante personalità quante dialoghi e canto. Durante le prove, a cui fu termine “comique” deriva da “comédien” che avevano già alle spalle alcune interpreti, è riuscita a cambiare senza difficoltà presente il compositore, vennero apportati (attore). Oltre a richiedere un abbinamento di collaborazioni. Henri Meilhac fu in gran parte con i tempi. Per il pubblico dell’Ottocento e alcuni tagli sia nella musica sia nel dialogo e il discorso e canto, lo statuto dell’Opéra- responsabile della struttura della vicenda e del per molti spettatori del Ventesimo secolo era la procedimento si è poi sempre ripetuto per gli Comique includeva anche altre disposizioni. dialogo scritto. Ludovic Halévy produsse le maliarda che travolge e distrugge don José, il allestimenti di questa versione dell’Opéra- Per esempio, doveva incoraggiare nuove opere canzoni e le arie in versi. Ma l’idea della quale indubbiamente avrebbe dovuto invece Comique e anche in questa registrazione, per di compositori francesi e portare alla ribalta i Carmen era venuta dallo stesso Bizet che aveva sposare l’innocente Micaëla. Oggi esistono quanto in maniera minima. giovani cantanti francesi. contribuito anche al libretto, talvolta opinioni diverse. Per alcuni Micaëla è Bizet moriva nel giugno del 1875, a pochi E infine c’è l’Opéra-Comique come edificio, sostituendo versi propri a quelli dei librettisti. addirittura una bigotta puritana, mentre mesi dalla prima, ma quasi certamente avrebbe senza dimenticare che diversi teatri lirici La prima parte della Havanaise è sua: un Carmen potrebbe essere una donna moderna, adattato personalmente l’opera in seguito per richiamano tipi diversi di pubblico. L’Opéra si manoscritto rimasto dimostra che sostituì in grado di controllare il proprio destino, l’Opéra di Parigi (e per altri teatri) dove, rivolgeva a un pubblico più raffinato – l’esordio alquanto convenzionale di Halévy libera di scegliere i propri partner sessuali e di contrariamente alla pratica dell’Opéra- l’aristocrazia e il pubblico internazionale – con una strofa composta da lui, quindi chiese abbandonarli a proprio piacimento. Inoltre Comique, il dialogo parlato non era ammesso mentre l’Opéra-Comique si rivolgeva alla a Halévy di fare il resto e adattare i suoi versi manifesta una fedeltà inflessibile alla morale e la musica di tutte le opere doveva proseguire borghesia. Nel caso della Carmen, il pubblico al motivo popolare su cui questo brano era zigana del suo clan, dove i debiti devono ininterrotta. Dopo la morte di Bizet, il suo per cui venne composta fu una forza modellato. Bizet intervenne anche nella scena sempre essere ripagati, dove l’amore deve avere collega Ernest Guiraud adattò il brano nella importante che le diede forma. delle carte. Ma la creazione dell’opera risentì sempre il primo posto e dove è accettabile che modalità consueta, comprimendo il parlato in In questo quarto senso esistevano diverse anche dell’influenza della direzione dell’Opéra- i poveri rubino ai ricchi. alcuni recitativi. L’opera fu rappresentata Opéra-Comique; l’ultima, la terza Salle Favart, Comique.

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I direttori, de Leuven e du Locle, avevano Chi se non Bizet e i suoi collaboratori ci spostiamo vertiginosamente tra brani di guercio assassino, venga ignorato. A un certo due preoccupazioni principali. Primo, un’opera avrebbero sfruttato l’accostamento di parlato e suoni della corrida e la lite tra José e Carmen. punto a proposito di Carmen il libretto ci dice precedente aveva causato aspre critiche alla cantato in maniera così brillante Per quanto riguarda il rispetto degli statuti che il “costume e l’ingresso [devono essere] compagnia, colpevole di non aver rispettato la nell’interrogatorio di Carmen, a cui Zuniga della compagnia, l’opera introduceva due ruoli esattamente come nella storia di Mérimée”, e regola di includere abbondante materiale rivolge domande parlate e riceve per tutta d’effetto per i soprani nei personaggi di alcuni brani del dialogo parlato sono molto parlato negli spettacoli. Secondo, i direttori risposta solo dei “trallallà” cantati? Poi c’è la Frasquita e Mercédès. In vari allestimenti le vicini a quelli della novella. Molte altre desideravano opere che piacessero alla clientela danza con cui Carmen premia José per averla parti di questi due personaggi (che in genere caratteristiche del libretto sono liberi borghese e riempissero i numerosi palchi liberata; le nacchere fanno contrasto con le gareggiano a vicenda dal punto di vista adattamenti, come per esempio l’osteria di normalmente occupati da famiglie desiderose melodie delle trombe fuori scena, con musicale, con una parte più alta dell’altra) Lillas Pastia, anche se l’idea delle frequenti di presentare le proprie figlie in età da marito. un’incredibile fertilità creativa che ci riempie furono scambiati. Talvolta le note d’effetto danze si ritrova anche in Mérimée. De Leuven rimase sconvolto all’idea di ancora di meraviglia. venivano condivise, non solo per adeguarle alla Don José è notevolmente ridimensionato, un’opera ispirata alla vicenda di Carmen. “Ma Bizet controlla con grande precisione e tessitura delle voci, ma anche per dare il fino al punto forse in cui la sua forza non viene uccisa dall’amante?” disse a Halévy: discrezione l’equilibrio tra parlato e cantato. miglior rilievo possibile ai nuovi talenti della nell’opera sta nella sua debolezza. Nella novella Ma è una storia ambientata tra ladri, zingari e Carmen non si limita a riunire arie compagnia. I ruoli dei diversi soldati non è un soldato, ma un bandito con il sigaraie!… E questo all’Opéra-Comique!… il inframmezzate da brani di dialogo; è un’opera (originariamente ce n’era uno in più chiamato grilletto molto facile. Nell’opera è un uomo teatro delle famiglie!… il teatro dove si che progredisce, spinta inesorabilmente verso Andrès) offrivano una possibilità a giovani combattuto e caratterizzato dall’indecisione. preparano i matrimoni!… Ogni sera abbiamo la sua terribile conclusione. A questo si giunge tenori e bassi; e c’erano diverse opportunità Per gran parte il resto è invenzione dei cinque o sei palchi riservati per questo… Il in diversi modi. per le ballerine, mal pagate dalla compagnia, librettisti, anche se molti dettagli sono ricavati pubblico ci abbandonerà… È impossibile! Le cose iniziano in maniera relativamente ma spesso appoggiate da anziani e ricchi dal vero: Meilhac e Halévy erano famosi per il Alla fine il compositore e i librettisti leggera, con diversi ammiccamenti e allusioni protettori che le attendevano dopo lo loro approccio realistico. Vengono aggiunti accettarono di rimaneggiare la trama nel dialogo parlato e alcuni doppi sensi spettacolo. non solo il personaggio di Escamillo, ma introducendo Micaëla, una brava ragazza (mentre José si lucida uno spillo, per esempio, La fonte primaria dell’opera è una novella anche tutti i particolari della corrida; la cattolica con cui il pubblico potesse o mentre Carmen e Manuela si scambiano del romanziere Prosper Mérimée, scritta dopo processione verso l’arena è basata su quanto identificarsi. I librettisti inventarono anche un osceni insulti su asini e scope). Non mancano una visita in Spagna nel 1830, pubblicata nel accadeva realmente all’epoca. Analogamente, altro ruolo per basso, quello del torero deliziosi tocchi di colore locale, specialmente 1842 e successivamente ampliata con l’idea di contrapporre l’azienda di tabacco e la Escamillo. Oggi è difficile immaginare l’opera nelle tre canzoni di danza con cui Carmen si l’aggiunta di un quarto capitolo interamente sala delle guardie, giustapponendo il disordine senza queste due figure. presenta al pubblico. Un altro contributo al dedicato agli zingari. La Carmen dell’opera e l’ordine, è uno stratagemma che offre il Sia il dialogo parlato sia i testi dei brani progresso della vicenda è l’adozione graduale contiene numerosi particolari della storia di giusto risalto a due temi essenziali dell’opera. cantati sono pieni di vere e proprie gemme. di una musica continua nell’ultimo atto, dove Mérimée, sebbene il marito di Carmen, un A Siviglia esisteva davvero una famosa fabbrica

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di tabacco (che oggi fa parte dell’università) ed complesse. Questi brani presentano Carmen ultimi criteri di redazione si sono basati L’edizione, che si può noleggiare presso la è vero che dava lavoro solo alle donne, spesso non solo attraverso le parole e la musica, ma prevalentemente su quelle che spesso si Peters Edition Ltd è stata realizzata con l’aiuto ex prostitute e ragazze madri. La presenza dei attraverso una danza provocante e gesti definiscono “le intenzioni del compositore”. del musicologo Clair Rowden, gentilmente bambini nell’opera è forse un indizio del fatto seducenti, con una musica che è in acuto Sopravvive una partitura per lo più di pugno appoggiato dalla Peter Moores Foundation. che i librettisti sapevano della fabbrica e delle contrasto rispetto a quella di Micaëla. di Bizet. Ma seguirla pedissequamente mi Attualmente sto preparando una partitura sue abitudini – se non direttamente, forse dalle D’altro canto, Bizet riesce a catturare in avrebbe portato lungo un sentiero falso e forse vocale per la stessa casa editrice, in inglese e illustrazioni di Gustave Doré, che era tornato a maniera profondamente commovente non avrebbe comunque rappresentato le francese, che conterrà molte variazioni e Parigi con una ricca collezione di lavori l’innocenza della diciassettenne Micaëla, con la intenzioni di Bizet. Dopo tutto, sicuramente includerà parecchio materiale descrittivo e eseguiti nella fabbrica. religiosità delle arpe. E ci regala anche in l’intenzione principale era quella di creare illustrativo sulle prime esecuzioni. Questa non Oltre a Mérimée, molti altri scrittori maniera brillante il maschilismo spensierato e un’opera di successo. Per questo venne sarà solo un’edizione per interpreti ma anche dell’Ottocento furono affascinati dalla vita e spavaldo del torero Escamillo! Per quanto modificata dal compositore durante le prove e una partitura di studio per studenti e dai personaggi degli zingari. Uno studio su di l’opera rappresenti un crogiuolo di elementi da altri in seguito, talvolta per migliorarla. Per appassionati. Seguirà una partitura orchestrale. essi sottolineava diverse caratteristiche diversi, è nata dal genio di tre maestri dell’arte esempio, il brano dell’interrogatorio di esplorate nell’opera: il rifiuto di cedere anche teatrale e continua ad esercitare un potere Carmen, con i suoi “trallallà”, è piuttosto © 2003 Richard Langham Smith in presenza di minacce o torture, la mancanza senza eguali su interpreti, produttori e sovraccarico nella prima edizione e secondo Traduzione: Emanuela Guastella di rispetto per l’autorità occidentale, la pubblico. me fu un bene che venisse concentrato predilezione per il tabacco e l’alcool, la durante gli allestimenti successivi. La trama preferenza per dolci e spuntini rispetto ai Nota sull’edizione Ho deciso di basare l’edizione soprattutto “pasti regolari” e, naturalmente, l’impudicizia Il mio compito principale nel preparare sui primi allestimenti dell’Opéra-Comique e PRIMO COMPACT DISC delle donne. un’edizione per la presente registrazione è stato da questo punto di vista ho fatto leva Si credeva inoltre che gli zingari avessero quello di realizzare un testo pulito e chiaro per soprattutto sulle parti orchestrali (la fonte 1 Il ricco Preludio è caratterizzato dalle grandi capacità musicali, anche se di natura uso dei musicisti, basato sulla versione migliore per sapere quello che veniva sonorità diverse degli archi, degli ottavini e “estemporanea”. Ma qui emerge il genio di dell’Opéra-Comique. David Parry ha tradotto effettivamente eseguito nella buca) e la prima degli ottoni, come nella musica all’aperto Bizet. Nella Havanaise, Seguidilla e Chanson il libretto e ha conservato l’essenza dei brani partitura vocale pubblicata (che venne spesso eseguita dalle bande militari. In seguito Bohème di Carmen, il compositore per la parlati, indispensabile per comprendere fino in utilizzata dai cantanti). Esiste anche una emerge un secondo motivo principale, prima volta introdusse un pastiche di vera fondo il significato della Carmen. Ben presto si preziosissima partitura manoscritta che fu accompagnato dagli ottoni, quello del torero musica zingara nel teatro lirico, brani di è visto che il problema principale era quello di utilizzata negli spettacoli dell’Opéra-Comique Escamillo. Dopo una drammatica pausa ecco qualità ipnotica basati sul ritmo e la decidere quale versione dell’Opéra-Comique per molti anni finché non fu pubblicata una una musica molto più tenebrosa. Il tremolo ripetizione piuttosto che su armonie utilizzare, perché ne esistevano molte. Gli partitura orchestrale stampata. degli archi sottolinea un motivo serpeggiante

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che ritornerà diverse volte. È il tema di uscita. Al suono ricorrente del motivo sinistro un bacio della madre. José è fuori di sé dalla riferisce a lui e le chiede se è disposta ad Carmen, a imitazione di una scala zigana? O è del Preludio in un registro più , compare gioia. 16 Rievoca il viso della madre e, preso amarlo. Lei promette bevute di manzanilla e il richiamo del fato? Carmen. “Dicci quando ci amerai”, chiedono i dai ricordi, intona un duetto con Micaëla. danze di seguidilla. Trallallallallà. José le allenta giovani. Carmen li prende in giro: certo non José si chiede se il bacio possa riuscire ad la corda intorno ai polsi. Atto I oggi. 11 Poi viene la sua prima canzone-danza, allontanare un pericolo imminente, alludendo 23 In conclusione, Carmen canta un brano 2 Una piazza di Siviglia. Su un lato della la famosa Havanaise. “L’amore è un uccello a Carmen. Micaëla non capisce, ma l’uomo della sua Havanaise direttamente davanti a piazza si trova la fabbrica di tabacco, dall’altra ribelle e nessuno può addomesticarlo.” Il coro cambia discorso. 17 José legge la lettera di Zuniga e finge di buttare José giù dal ponte, parte il corpo di guardia. Alcuni dragoni fa eco alle sue parole. sua madre che gli consiglia di sposare poi fugge via. seduti a fumare osservano l’andirivieni della 12 Improvvisamente l’atmosfera si fa più Micaëla. gente. 3 La loro attenzione viene richiamata minacciosa mentre ritorna il motivo fatale, con 18 – 19 All’improvviso dalla fabbrica 24 da una giovane donna. Si tratta di Micaëla, in un crescendo fino al momento in cui Carmen provengono delle invocazioni di aiuto delle cerca di don José. Il sergente Moralès le dice si rivolge per la prima volta a José e gli chiede sigaraie. Carmen è stata insultata e qualcuno è Atto II che il turno di José inizia più tardi e la invita a cosa stia facendo. L’uomo risponde stato aggredito. Zuniga ordina a José di andare La taverna di Lillas Pastia. 25 Gli zingari si entrare, ma la fanciulla declina educatamente. semplicemente che ha da fare e continua a a investigare. Le ragazze non sono d’accordo su mescolano agli ufficiali e Carmen danza per la 4 – 6 Una fanfara annuncia il cambio caricare il suo spillo; la donna si toglie dal chi ha iniziato la lite. Carmen dice di essere terza volta con due amiche zingare, Frasquita e della guardia, seguita dai pifferi e dalle trombe corsetto un rametto di fiori di cassia, glielo stata provocata e 20 Zuniga la interroga. A Mercédès. La danza culmina in un ritmo di una marcia militare. Precede i soldati un lancia e corre via mentre le sigaraie tornano a ogni domanda la donna ha solo una risposta: frenetico. 26 Zuniga chiede alle ragazze di gruppo di monelli di strada che imitano il lavorare. 13 José annusa il profumo inebriante “Trallallallallallallallà.” Zuniga ordina a José di andare a teatro con lui e gli altri soldati, ma le passo militare. Al suono di un’altra fanfara del fiore. legarle le mani e portarla in prigione. donne rifiutano. cambia la guardia. 7 José e il luogotenente Ritorna Micaëla e José la riconosce e la 21 Prima di viene condotta via, Carmen 27 Un coro annuncia l’imminente arrivo di Zuniga parlano della fabbrica di tabacco e saluta con calore; è una ragazza del suo inizia a parlare con José. Dopo alcuni tentativi Escamillo. 28 – 29 Gli ufficiali ordinano da delle ragazze che lavorano qui. villaggio. Mentre lei dice a José che è stata falliti per metterlo dalla sua parte, lo provoca bere per accoglierlo. 30 Il torero canta la sua 8 Suona la campana della fabbrica e la inviata dalla madre di lui, 14 l’uomo canta dichiarando che è innamorato di lei e che farà famosa aria, paragonando le sue conquiste ai piazza si riempie di giovanotti. 9 Le ragazze “Parlami di mia madre!” Micaëla gli ha portato tutto quello che lei dice. L’uomo nega, ma è successi della corrida. 31 – 32 Escamillo escono fumando, parlano dell’effetto del denaro, una lettera e qualcosa di molto più profondamente colpito. 22 Carmen intona la manifesta interesse per Carmen, che lo distensivo delle sigarette e dichiarano che le prezioso…; “Questo qualcosa… spiegati”, sua seconda canzone-danza, la Seguidilla, in respinge. 33 Gli zingari preparano promesse degli innamorati sono fumo. I chiede José. 15 La musica assume un tono cui parla di una taverna sui bastioni, gestita da un’operazione di contrabbando, guidata da giovani le supplicano di non essere così fredde. quasi religioso con l’accompagnamento di arpe un certo Lillas Pastia e rivela di essere Dancaïre e Remendado. 34 – 35 In un 10 I soldati notano che Carmen non è e archi mentre Micaëla rivela di aver portato innamorata di un caporale. José capisce che si Quintetto, gli uomini chiedono a Carmen e

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alle sue amiche di aiutarli. Tra la sorpresa 9 Intermezzo lo incita a una lotta e ben presto ha la peggio, e Mercédès. 26 Ritorna la musica del Preludio generale, Carmen dichiara di essere ma Escamillo rifiuta di ucciderlo. José insiste iniziale, questa volta con un coro che annuncia innamorata. Gli uomini le ricordano che il suo Atto III per continuare il combattimento ma, quando l’arrivo del corteo. Finalmente entra Escamillo: dovere di zingara deve avere la precedenza. Una località selvaggia sulle montagne. 10 Gli Escamillo scivola, non riesce a ucciderlo Carmen è al suo fianco. 27 I due iniziano un Carmen protesta che, per lei, l’amore viene per zingari con una di contrabbandieri perché 21 Carmen si precipita a salvarlo. duetto e il torero corteggia la donna, che gli primo. 36 Da lontano si sente don José marciano cantando. 11 In un teso dialogo, Escamillo la ringrazia e sfida José a uno dichiara il proprio amore tra il clamore della cantare. Carmen è contenta di vederlo e ripaga José rivela a Carmen che si trova vicino alla scontro decisivo. 22 Remendado scopre folla. Gli amici di Carmen l’avvertono che è in il suo debito con lui ordinando cibo e casa di sua madre. Lei lo schernisce insinuando Micaëla nascosta. La fanciulla riprende il pericolo: nelle vicinanze è stato visto José. manzanilla. che forse è proprio con lei che dovrebbe motivo della sua bella aria iniziale con le arpe, 28 Finalmente José esce allo scoperto e restare. “Sei il demonio, Carmen?” le chiede ricordando ancora una volta a José sua madre, supplica Carmen di ritornare con lui come SECONDO COMPACT DISC lui. “Sì, te l’ho già detto”, è la risposta. ormai triste e sola. Gli zingari danno man prima. Le chiede se l’ama ancora. “No, non ti 12 Frasquita e Mercédès dispongono le forte a Micaëla e insistono perché José torni a amo più”, è la risposta. 29 Si sente ancora una 1 Carmen dichiara che danzerà per José. carte per leggere la propria sorte. Sono casa: “Ben presto sarai perduto per sempre… volta il coro della corrida: è il trionfo di 2 Durante la danza si sente in lontananza il fortunate: una troverà un amante sincero e se non parti subito”, lo assicurano. Quando Escamillo. Carmen confessa che adesso ama il suono delle trombe provenienti l’altra uno spasimante ricco. Ma le carte di José protesta che non può lasciare Carmen, torero e scaglia via sdegnosamente l’anello che dall’accampamento: il reparto di José si sposta. Carmen parlano di morte: “prima per me e poi 23 Micaëla gli dice che sua madre sta per José le aveva donato prima. La misura è colma. Secondo Carmen è l’accompagnamento giusto per lui”. Ritorna il motivo fatale. 13 Carmen morire. La partenza è dunque irrevocabile. Ma Mentre il tema della corrida e l’aria del torero per la sua canzone, ma José vuole fare ritorno canta la sua prima vera aria, riflettendo sulla con le sue parole d’addio, l’uomo ricorda a si alternano, José colpisce Carmen. Escamillo alla sua compagnia. 3 I due litigano. Per verità rivelata dalle carte. 14 – 15 Gli zingari Carmen che si rivedranno. Escamillo si esce dall’arena e la trova morta. “Sono io che Carmen il suo desiderio di ritornare all’esercito preparano l’agguato e danno istruzioni a prepara per la corrida cantando brani della sua l’ho uccisa, la mia Carmen adorata!” esclama non è altro che un rifiuto del suo amore. Carmen e alle altre due di sedurre i doganieri. aria. José. 4 L’uomo protesta ricordandole il fiore che lei José è geloso. gli aveva lanciato. 5 Carmen lo esorta a 16 Compare Micaëla con una guida. 24 Intermezzo © 2003 Richard Langham Smith fuggire lontano con lei. Qualcuno bussa alla 17 Nella sua aria, “Mi dico che non c’è nulla Traduzione: Emanuela Guastella porta; 6 entra Zuniga e scopre José, che da temere”, confessa il proprio amore per José. Atto IV adesso è un disertore per l’esercito. 7 – 8 Gli 18 Si nasconde e osserva José mentre arriva Con l’intermezzo, in stile spagnolo, siamo Patricia Bardon, mezzosoprano, nata a zingari riescono ad avere la meglio su Zuniga e Escamillo. 19 – 20 Escamillo confessa di essere trasportati nei dintorni dell’arena della corrida. Dublino, ha studiato con Veronica Dunne offrono a José una via di scampo: deve unirsi innamorato di Carmen, senza sapere che José 25 Alcuni mercanti vendono ventagli, gelati, presso il College of Music di Dublino e si è alla loro banda. si considera ancora l’amante della donna. José arance e sigarette. Entra Zuniga con Frasquita messa in luce al concorso Cardiff Singer of the

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World, di cui è la più giovane vincitrice. cinquantesimo compleanno del principe Carlo. Mary Plazas ha svolto numerosi recital e alcuni nuovi allestimenti di Ernani e Importante interprete lirica a livello Ha partecipato alla registrazione concerti, tra cui recital solistici presso la Les Contes d’Hoffmann. Nel 1996, il tenore internazionale, ha cantato i ruoli di Chandos/Peter Moores Foundation di Eugenio Wigmore Hall, la Purcell Room e il Centro ha esordito alla Royal Opera, Covent Garden protagonista in Tancredi al Teatro la Fenice di Onieghin. Karajan di Vienna, e ha partecipato a nel ruolo di protagonista del Don Carlos, Venezia, Carmen presso la Staatsoper di numerosi festival. Il suo repertorio diretto da Bernard Haitink, che ha riproposto Amburgo, La Cenerentola al Théâtre de la Mary Plazas, soprano, ha studiato presso il concertistico comprende Die Schöpfung di al Festival di Edimburgo nel 1998. Altre Mannaie di Bruxelles, Tamerlano a Beaune e Royal Northern College of Music di Haydn, A Child of Our Time di Tippett, interpretazioni comprendono Alfredo Orlando a New York, Parigi, Lione e Anversa. Manchester con Ava June. Vincitrice di Das Paradies und die Peri di Schumann e (La traviata) per la Norske Opera di Oslo, È comparsa inoltre nelle vesti di Penelope numerosi riconoscimenti, tra cui la Kathleen Chants d’Auvergne di Canteloube. Compare in Opera Australia e ENO, Rodolfo (La bohème), (Il ritorno d’Ulisse in patria) e Anna Ferrier Memorial Scholarship nel 1991, ha Emma d’Antiochia di Mercadante e Maria, Laca, Carlo (Giovanna d’Arco) e il ruolo (Les Troyens) al Maggio Musicale fiorentino, in ricevuto anche importanti borse di studio della regina d’Inghilterra di Pacini per l’etichetta principale del Don Carlos per Opera North; quelle di Arsace (Semiramide) alla Fenice; è Peter Moores Foundation e del Countess of Opera Rara. Per Chandos/Peter Moores Des Grieux (Manon Lescaut) con l’Orchestra stata Cornelia (Giulio Cesare) e Amastris (Serse) Munster Musical Trust. Ha esordito in teatro Foundation ha registrato i ruoli di Zerlina Filarmonica di Israele; Pollione (Norma) a alla Staatsoper di Monaco e a Dresda, Ursula nel 1992 con English National Opera nel Don (Don Giovanni), Adina, Marguerite (Faust) e Lucerna; Pinkerton per la Deutsche Oper (Béatrice et Bénédict) ad Amsterdam e Smeton Carlos (Voce dal cielo). Ha cantato con tutte le Liù (Turandot). di Berlino; Roméo (Roméo et Juliette); Don (Anna Bolena) a San Francisco. Ha lavorato principali compagnie liriche britanniche, oltre José per Opera Australia; interpretazioni spesso per Opera North, Welsh National che con la New Israeli Opera, la Metropolitan Julian Gavin è nato a Melbourne, in Australia, in concerto del ruolo di Rodolfo in Luisa Opera, Scottish Opera e Glyndebourne Festival Opera di New York e al Festival di Bregenz. dove ha studiato. Dopo il diploma ha Miller; Arrigo ne La battaglia di Legnano, Opera, e ha interpretato alcuni ruoli in Mosè in Il suo ricco repertorio comprende Susanna frequentato un corso di direzione d’orchestra, e Ismaele nel Nabucco diretto da Sir Edward Egitto, Guillaume Tell, Rigoletto, Mefistofele e (Le nozze di Figaro), Donna Elvira (Don quindi si è trasferito in Inghilterra e ha Downes. La fanciulla del West alla Royal Opera, Covent Giovanni), Marzelline (Fidelio), Adina (L’elisir studiato presso il National Opera Studio. Il La discografia comprende Godvino (Aroldo), Garden. d’amore), Oscar (Un ballo in maschera), Mimì suo esordio operistico britannico è stato nelle Les Contes d’Hoffmann, il Requiem e Rigoletto Ha svolto concerti e recital in tutta Europa, (La bohème), Anne Trulove (The Rake’s vesti di Alvaro, nell’allestimento di La forza del di Verdi, Psalmus Hungaricus di Kodály e negli Stati Uniti e in Giappone, ed è apparsa Progress) e il ruolo di protagonista nella Piccola destino della English National Opera, seguito Roméo et Juliette di Gounod, oltre a Ernani per con direttori del calibro di Zubin Mehta, volpe astuta. Ha cantato Donna Elvira per la da Laca in Jenuofa per Opera North. Chandos/Peter Moores Foundation. Il tenore Bernard Haitink, Claudio Abbado, Antonio Glyndebourne Touring Opera e per la stessa Per English National Opera, Julian Gavin è comparso in una serie televisiva in sei Pappano e Sir . È stata compagnia ha creato il ruolo di Tina in Flight ha interpretato, tra l’altro, i ruoli di Pinkerton puntate per la BBC, Top Score, invitata a cantare a Buckingham Palace di Jonathan Dove, riproponendolo con la (Madama Butterfly), Cavaradossi (Tosca), il sull’allestimento di un’opera ispirata alla durante un concerto organizzato per il Glyndebourne Festival Opera. duca (Rigoletto) ed è stato protagonista di Bohème.

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Il baritono Garry Magee, che ha conseguito il comprende, per Chandos/Peter Moores Il soprano Sally Harrison ha studiato presso il (Die lustige Witwe) alla Royal Opera, Covent diploma della Guildhall School of Music and Foundation, il ruolo di protagonista in Royal Northern College of Music, con il Garden, Federico (L’Arlesiana) e Plutone Drama e del National Opera Studio, ha vinto Don Giovanni e Valentin in Faust. sostegno di una borsa di studio della Peter (Orphée aux enfers) per Opera Holland Park, il primo premio del concorso dedicato a Moores Foundation, e successivamente presso Don José e Tamino (Die Zauberflöte) alla Kathleen Ferrier nel 1995 e l’anno dopo ha Il soprano Mary Hegarty, di Cork, ha studiato il National Opera Studio. Con la English Welsh National Opera. Il suo repertorio vinto un premio al concorso internazionale presso la Cork School of Music e presso il National Opera ha cantato Despina (Così fan operistico comprende inoltre Edgardo (Lucia Belvedere di Vienna. Attualmente studia con National Opera Studio di Londra. Vincitrice tutte), Papagena e Pamina (Die Zauberflöte), di Lammermoor), Rodolfo (La bohème), Robert Dean. Tra i numerosi ruoli da lui del premio “Golden Voice of Ireland”, ha Giannetta (L’elisir d’amore), Lidka (Le due Eisenstein (Die Fledermaus) e Lysander interpretati vanno ricordati Guglielmo rappresentato il proprio paese al concorso vedove di Smetana), Frasquita, Chloë (La dama (A Midsummer Night’s Dream) oltre al ruolo di (Così fan tutte), Papageno (Die Zauberflöte), Cardiff Singer of the World. In Gran Bretagna di picche) e Yum Yum (The Mikado), ed è protagonista en titre di Les Contes d’Hoffmann. Dr Malatesta (Don Pasquale), Figaro si è esibita con la Royal Opera, Covent comparsa nelle vesti di Musetta (La bohème) e Dal 1999 al 2001 è stato solista presso la (Il barbiere di Siviglia), Marcello e Schaunard Garden, English National Opera, Opera Polly Peachum (Die Dreigroschenoper) presso la Royal Opera. (La bohème), Sharpless (Madama Butterfly) e North, Opera Northern Ireland, Scottish Opera e in quelle della contessa Il suo vasto repertorio concertistico Harry Heegan (The Silver Tassie) oltre ai ruoli Glyndebourne Touring Opera e Garsington (Le nozze di Figaro) presso l’Opera Theatre comprende la Passione secondo San Giovanni di di protagonista nel Don Giovanni ed Eugenio Opera. Tra i suoi numerosi ruoli vanno Company di Dublino. Altre interpretazioni di Bach e il Messiah di Handel, le messe da Onieghin. Si è esibito con la English National ricordati Blonde (Die Entführung aus dem rilievo in Gran Bretagna comprendono Poppea Requiem di Mozart e Verdi, la Petite Messe Opera, Opera North, la Royal Opera, Covent Serail ), Cherubino e Susanna (Le nozze di (Agrippina di Handel) al Buxton Festival, solennelle di Rossini e Elijah di Mendelssohn, Garden, Welsh National Opera, Flanders Figaro), Papagena (Die Zauberflöte), Norina Galatea (Acis and Galatea) all’English Bach la Messa glagolitica di Janácˇek, Opera, Opéra de Monte-Carlo, Théâtre de la (Don Pasquale), Adina (L’elisir d’amore), Festival e Gilda (Rigoletto) presso la Bath and Les Illuminations e Serenade for Tenor, Monnaie di Bruxelles, Opera dei Paesi Bassi, Ninetta (La gazza ladra), Elvira (L’italiana in Wessex Opera. In concerto ha interpretato Horn and Strings di Britten. Ha partecipato Deutsche Oper di Berlino e Florida Grand Algeri), Fiorilla (Il turco in Italia), Marzelline Esther e il Messiah di Handel, la Messa in alle registrazioni Chandos/Peter Moores Opera. Ha svolto concerti e recital in Gran (Fidelio), Micaëla, Pousette (Manon), Nanetta do minore ed Exsultate, jubilate di Mozart e i Foundation di Lucia di Lammermoor, Bretagna e all’estero in un repertorio che (Falstaff ), Lisette (La rondine) e Anne Trulove Carmina burana di Orff. Ernani e Turandot. comprende il Magnificat e la Passione secondo (The Rake’s Progress). Si è esibita presso la San Giovanni di Bach, Ein deutsches Requiem Royal Albert Hall, il Barbican Centre e la Il tenore Peter Wedd ha studiato presso la Mark Le Brocq è stato borsista nel coro del di Brahms, la cantata Primavera di Royal Festival Hall, ha partecipato ai festival di Guildhall School of Music and Drama con St Catharine’s College di Cambridge, dove ha Rachmaninov, Das Berliner Requiem di Kurt Batignano, Aix-en-Provence e Buxton, ha William McAlpine, e presso il National Opera studiato Letteratura Inglese. Ha vinto una Weill, West Side Story di Bernstein e War lavorato con la Flanders Opera e ha cantata il Studio, con l’appoggio della Peter Moores borsa di studio per accesso alla Royal Academy Requiem di Britten. La sua discografia Messiah con l’Orchestre nationale de Belgique. Foundation. Ha interpretato i ruoli di Cascada of Music, dove ha studiato con Kenneth

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Bowen, e in seguito ha continuato i suoi studi nella versione per baritono del Werther, e di English Touring Opera, ed Escamillo, Don trenta registrazioni. Il Coro gode di una fama presso il National Opera Studio. mugnaio ( Jenu˚fa) tra gli altri. Dopo aver Basilio (Il barbiere di Siviglia) e il ruolo di sempre maggiore con ulteriore lavoro dalla È stato tra le voci principali della English conseguito il diploma è entrato alla English protagonista nel Don Giovanni presso Opera BBC e da case discografiche internazionali. Per National Opera, con ruoli come Tamino National Opera e con questa e altre compagnie Holland Park. Di recente ha cantato Escamillo la Chandos il Geoffrey Mitchell Choir ha (Die Zauberflöte), Paris (King Priam), conte inglesi ha interpretato i ruoli di Valletto e Dancaïre in un nuovo allestimento della partecipato a numerose registrazioni nelle Almaviva (Il barbiere di Siviglia), Narraboth (L’incoronazione di Poppea), Henry (The Fairy Carmen di Opera North. Ha esordito con la applaudite serie di Opera in English con il (Salome), Don Ottavio, Monostatos, Queen), Papageno (Die Zauberflöte), Fiorello Royal Opera, Covent Garden in alcune patrocinio della Peter Moores Foundation. Rodriguez (Don Quixote di Massenet), (Il barbiere di Siviglia), barone Douphol rappresentazioni del Palestrina di Pfitzner e Odoardo (Ariodante), Doctor Maxwell (La traviata) e Schaunard (La bohème). Le sue con la English National Opera nelle vesti del Il New London Children’s Choir è stato (The Silver Tassie), e Siward (A Better Place). partecipazioni ai festival musicali lo hanno barone Douphol nella Traviata. Si è esibito fondato dal suo Direttore Musicale Ronald Altre esibizioni hanno incluso ruoli per la visto interpretare il ruolo di Guglielmo (Così presso l’Opéra national de Paris-Bastille e Corp nel 1991 con lo scopo di permettere ai Opera Northern Ireland, la Garsington fan tutte) al Festival di Aix-en-Provence, presso l’Opéra de Nantes. Il suo repertorio bambini di conoscere gli elementi di sfida e Opera e il Festival di Aix-en-Provence. quelli di Marte ed Euro in Il pomo d’oro di concertistico comprende tutti i principali ruoli divertimento insiti nel canto e nell’esibizione Mark Le Brocq si è esibito come solista in Cesti al Festival di Batignano, quello di da oratorio oltre a opere del Ventesimo secolo per quanto riguarda tutti i tipi di musica. Da recital e oratori negli Stati Uniti, in Francia, Schaunard al Festival di Bregenz e quelli di come la Sinfonia di Berio, interpretata al allora il Coro si è esibito nei principali auditori Germania, Spagna e nei paesi del Medio Grimbald e Aeolos nel King Arthur di Purcell Boulez Festival di Tokyo nel 1995. di Londra; ha cantato con le orchestre Oriente, così come nei principali teatri di al Kings Lynn Festival nel Norfolk. Il suo sinfoniche e i direttori più importanti del Londra. È apparso con il Gabrieli Consort e repertorio di opere da oratorio comprende La carriera di cantante di Geoffrey Mitchell Regno Unito; ha collaborato con varie Paul McCreesh nei festival di tutta Europa. le messe da Requiem di Mozart e Fauré, racchiude un repertorio notevole che spazia compagnie operistiche in Gran Bretagna e Le sue incisioni comprendono Il trovatore e Die Schöpfung di Haydn e la Messa in dalla musica antica a quella contemporanea e all’estero; ha partecipato a numerose incisioni Turandot per la Chandos/Peter Moores si minore di Bach. che l’ha portato in Scandinavia, Germania, e trasmissioni radio-televisive, ed è stato Foundation, Samson, Judas Maccabaeus, Hail nella ex Cecoslovacchia, in Canada e invitato dai festival più prestigiosi. Bright Cecilia di Purcell, Utrecht Te Deum di Nicholas Garrett, basso baritono, ha Australasia. L’esperienza di direzione degli inizi La vasta discografia del New London Handel e I Was Glad di Boyce. frequentato il Trinity College of Music e ha con la BBC lo ha condotto ad un maggiore Children’s Choir include incisioni dello ricevuto un premio della Wolfson Foundation. coinvolgimento con i suoi stessi cantanti e Schiaccianoci di Chaikovsky, Canzone delle Il baritono Toby Stafford-Allen ha studiato Ha interpretato Sourin (La dama di picche) per inoltre alla creazione del Geoffrey Mitchell foreste di Shostakovich, Ivan il terribile di con Robert Alderson presso il Royal Northern la Scottish Opera, Sparafucile e Monterone Choir. Le prime registrazioni sono sfociate nel Prokofiev, Bethlehem di Rutland Boughton, College of Music, dove ha interpretato i ruoli (Rigoletto), Figaro (Le nozze di Figaro) e coinvolgimento a lungo termine del Coro con Hugh the Drover di Vaughan Williams, la di Figaro (Le nozze di Figaro), di protagonista Nourabad (Les Pêcheurs de perles) con la Opera Rara, per la quale ha inciso più di Sinfonia n. 3 di Mahler, The Planets di Holst,

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e St Nicolas e A Midsummer Night’s Dream di del suono. È stata lodata sia per la sua David Parry ha studiato con Sergiu in Giappone con una tournée della Carmen e Britten. Ha inciso anche per il cinema e ha programmazione innovativa, al centro della Celibidache ed ha cominciato la sua carriera in Messico con la UNAM Symphony presentato in anteprima oltre trenta opere quale vi è un impegno ad interpretare e come assistente di Sir John Pritchard. Orchestra. Recenti nuove produzioni da lui nuove. commissionare una musica nuova dei Ha debuttato all’English Music Theatre, dirette comprendono il Fidelio al Festival della principali compositori viventi al mondo, tra i quindi è diventato direttore d’orchestra Nuova Zelanda, Lucia di Lammermoor alla Dai buoni auspici degli inizi nel 1945, quando quali l’attuale Compositore in Visita James presso la Städtische Bühnen di Dortmund e la New Israeli Opera e Don Giovanni alla fu creata da Walter Legge principalmente MacMillan. Opera North. È stato Direttore Musicale di Staatsoper di Hannover. come orchestra di registrazione, la L’Orchestra si reca frequentemente all’estero Opera 80 dal 1983 al 1987 e dal 1992 è stato Il suo lavoro in studio di registrazione Philharmonia Orchestra ha continuato ad in tournée ed è l’orchestra sinfonica più Direttore Musicale fondatore dell’Opera di comprende la produzione della BBC di attirare alcuni fra i direttori più importanti del registrata al mondo con ben più di 1000 Almeida. Der Vampyr di Marschner nonché ventotto Ventesimo secolo. Hanno collaborato più incisioni all’attivo. Tra queste vi sono, per Lavora copiosamente in opere e concerti, a registrazioni operistiche complete con il frequentemente con l’Orchestra Otto Opera Rara, parecchi dischi di arie d’opera livello nazionale ed internazionale. Ha diretto patrocinio della Peter Moores Foundation. Tra Klemperer (primo Direttore Principale), nonché undici opere complete (Ugo, conte di diverse produzioni presso la English National questi vi sono numerosi dischi per l’etichetta Lorin Maazel, Riccardo Muti, Giuseppe Parigi, Ne m’oubliez pas, Emilia di Liverpool, Opera e la Opera North e appare regolarmente Opera Rara che hanno vinti parecchi premi, Sinopoli, Carlo Maria Giulini, Sir Andrew L’assedio di Calais, Rosmonda d’Inghilterra e con la Philharmonia Orchestra e la London tra cui il belga Prix Cecilia per la Rosmonda Davis, Vladimir Ashkenazy e Esa-Pekka Maria de Rudenz di Donizetti, Dinorah di Philharmonic Orchestra. Nel 1996 ha d’Inghilterra di Donizetti. Per Chandos ha Salonen. Attualmente diretta dal Direttore Meyerbeer, Medea in Corinto di Mayr, Orazi e debuttato con Così fan tutte al Glyndebourne diretto una serie di registrazioni di arie d’opera Principale Christoph von Dohnányi e con Curiazi di Mercadante, Maria, regina Festival, dove nel 1998 ha diretto la prima (con Bruce Ford, Diana Montague, Dennis Leonard Slatkin in qualità di Direttore d’Inghilterra di Pacini e l’Otello di Rossini). mondiale di Flight di Jonathan Dove. O’Neill, Alastair Miles, Yvonne Kenny, John Ospite Principale, l’Orchestra ha L’Orchestra ha registrato numerosi dischi per È un frequente visitatore della Spagna dove Tomlinson, Della Jones e Andrew Shore), consolidato la sua posizione centrale nella la Chandos, tra cui, nelle serie di Opera in si è esibito in concerto con la maggior parte nonché Don Giovanni, Don Pasquale, L’elisir vita musicale britannica, non solo a Londra English con il patrocinio della Peter Moores delle maggiori orchestre spagnole. Ha diretto d’amore, Lucia di Lammermoor, Ernani, dove è Orchestra Residente al Royal Foundation, Don Giovanni, L’elisir d’amore, la prima spagnola di Peter Grimes a Madrid e Il trovatore, Aida, Faust, Cavalleria rusticana, Festival Hall, ma anche nella società in Lucia di Lammermoor, Faust, Aida, La bohème, nel 1996 la prima produzione spagnola di Pagliacci, La bohème, Turandot, Tosca senso più ampio attraverso soggiorni sul Madama Butterfly, Turandot, Tosca vincitrice di The Rake’s Progress. È apparso in Germania, (vincitrice di un premio) e brani scelti da territorio. un premio e album con recital da solista di arie Svizzera, Paesi Bassi, al Festival di Pesaro in Der Rosenkavalier, tutte in collaborazione con L’Orchestra ha ricevuto diversi premi d’opera con Bruce Ford, Diana Montague, Italia, al Festival Internazionale di Hong Kong, la Peter Moores Foundation. importanti ed ha conquistato il plauso della Dennis O’Neill, Alastair Miles, Yvonne Kenny critica grazie alla sua vitalità e al calore unico e John Tomlinson.

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Toby Stafford-Allen Stuart Stratford with David Parry CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 100

COMPACT DISC ONE Moralès (nonchalantly) Moralès (with emphasis) Micaëla (afraid ) Killing time is a guard’s vocation Here you are… With you? 1 Prelude When he’s standing by: I’m yours! Moralès and Soldiers We smoke and watch with concentration Act I Micaëla With us! Passersby pass by. I’m looking for a certain corp’ral, Don José: do Scene 1 In the plaza you know his name? Micaëla A square in Seville. On the right, the door of the People pass us, With you? tobacco factory. In the centre of the square, a Here and there, Moralès fountain. In the background, facing the audience, a To and fro. Don José? Moralès and Soldiers practicable bridge extending right across the stage. We know him and his name. With us! Soldiers The bridge is reached by a spiral staircase turning Micaëla (joyfully) In the plaza etc. Micaëla (shrewdly) to the right above the door of the tobacco factory. You do! Oh no, oh no, you’re too kind, brave soldiers The lower part of the bridge is practicable. On the Moralès Is he with you now, thank you kindly? and true. left, in the foreground, the guardroom. In front of Funny to watch! the guardroom, a small covered gallery, raised, Moralès (elegantly) Moralès reached by two or three steps; near the guardroom, (Enter Micaëla.) You’ll find him in another company entirely. Come inside and don’t be nervous: in a rack, the soldiers’ lances with yellow and red (Hesitant and uneasy, she watches as the soldiers Micaëla (desolate) By my sword, I promise you pennons. step forward, back etc.) You mean he isn’t there? We shall treat your little person With every care that is due. No. 1 Introduction and Chorus Moralès Moralès (The curtain rises to reveal about fifteen soldiers – 3 Just look at that delicious morsel No, little charmer, he isn’t there; Micaëla dragoons of the Almanza regiment – gathered in Who seems to have something to say… But very soon he will be here. I’m quite sure of that, nonetheless I’ll go away, front of the guardroom. Some are seated while You see, you see!… Moralès and Soldiers I’ll go away, that would be best. smoking, others lean their elbows on the balustrade She’s so nervous… He will be here I’ll go away of the gallery. People go about their business in the She’s in torment… Now his patrol’s returning Till his patrol’s returning Because your watch square, exchanging greetings, jostling etc.) Soldiers Because our watch Is over for the morning. Soldiers She needs our help without delay! Is over for the morning. 2 Moralès and Soldiers In the plaza Moralès (to Micaëla, seriously) Moralès Better to stay People pass us, My sweet, how can I help you?… But while you are waiting for him, Here and there, Would you like, my sweetest child, Now his patrol’s returning To and fro; Micaëla (simply) To avoid the heat and boredom Because our watch Funny to watch their constant show! Me… There’s someone I must find. And rest inside for a while? Is over for the morning.

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Moralès (holding Micaëla back) watch the parade. The marching comes nearer and God Almighty, just my luck! Children You’d better stay! nearer… The incoming watch finally emerges from You come along! Here we are! 6 Off with you old soldier boys, the left and crosses the bridge. Two bugles and two Ta ra ta ta ra ta ta ra ta ta ta ta ta ra ta ta. Off you go ’cause here we are, Micaëla (attempting to free herself ) fifes come first, followed by a group of small Making our trumpetty noises! Oh no, oh no! children taking huge steps to try to keep up with the (The incoming watch forms a line on the right, Ta ra ta ta ta ra ta ta. Moralès and Soldiers soldiers. Children as small as possible. Behind them, facing the outgoing watch. The small children We can march like soldiers can, You’d better stay! Lieutenant Zuniga and Corporal Don José, have stopped on the right, in front of curious Heads and noses in the air, followed by dragoons carrying lances.) onlookers, and when they finish singing, the officers And keep in step like the man says: Micaëla give a salute with their swords, and begin to talk Left, right and call me sir! Oh no, oh no! Children quietly amongst one another. The guards are 4 Ta ra ta ta ra ta ta. (escaping) Here come our new soldier boys, relieved.) So for now, brave soldiers, good-bye! Here they come and here we are, (Soldiers, children and onlookers move into the Making our trumpetty noises! Moralès (to Don José) background as the fifes and bugles fade away. (She runs away.) 5 Ta ra ta ta ta ra ta ta. José! There was a girl here looking for you just The officer of the incoming watch meanwhile Moralès We can march like soldiers can, now. She said she’d come back… inspects his men in silence. The soldiers all place Our bird has flown… Heads and noses in the air, their lances in the rack and go inside the And keep in step like the man says: Don José We’re left alone… A girl? guardroom. Don José and Lieutenant Zuniga are We should do what we always do: Left, right and call me sir! left alone on stage.) Just watch the passersby pass through. What a dreadful lot you are! Moralès Stick those chests out, shoulders back! Yes – very pretty too, blue skirt, pigtails… Scene 3 Soldiers Straighten those arms and try harder! In the plaza etc. God Almighty, just my luck! Don José Zuniga Come along you soldier boys, It must have been Micaëla… Micaëla… 7 Moralès Corporal! You come here ’cause here we are, Funny to watch! Moralès Don José (rising) Making our trumpetty noises! She didn’t give her name. Ta ra ta ta ta ra ta ta. Sir! Scene 2 We can march like soldiers can, (The guards have been replaced. Bugle calls. The Zuniga No. 2 March and Chorus of Children Heads and noses in the air, outgoing watch passes before the incoming watch. I’m new here. Tell me, what’s that building? (From far off comes the sound of a military march, Jumping when we hear the man: The children in formation resume the position with fifes and bugles. The new watch is arriving. Left, right and call me sir! behind the bugles and fifes of the outgoing watch Don José An officer leaves the guardroom. The soldiers of the What a dreadful lot you are! which they occupied behind the bugles and fifes It’s the tobacco factory, sir. About four or five watch take their lances and line up in front of the Stick out those chests, shoulders back! of the incoming watch. The outgoing watch hundred girls work there, sir, and men aren’t guardroom. The passers-by on the right gather to Straighten out those arms: try harder! departs.) allowed in. No one’s there at the moment – the

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girls are just having their lunch break; but they’ll Don José Snake-like and slow, Scene 5 be back any minute. There’ll be quite a lot of That’s the factory bell, sir – you can see for Rising, rising and unfurling. Soldiers men here watching them too… yourself… That intoxicating scent 10 But why hasn’t she come, our Carmencita? Makes you dizzy, Zuniga Scene 4 And in a while (Enter Carmen. The costume and entrance exactly There are some pretty girls, then? All the cares of life seem easy. as described by Mérimée. She has a posy of cassia No. 3 Chorus of Cigarette Girls Sweet whispers on lovers’ lips… flowers on her blouse and a cassia flower at the Don José (The square fills with young men who take up So they say, but I don’t really notice… Puff of smoke! corner of her mouth. Three or four young men position to watch the cigarette girls pass by. The Vows counted on fingertips… enter with Carmen, encircling her and speaking Zuniga soldiers come out of the guardroom. Don José is Puff of smoke! with her. She flirts and simpers. Don José looks up. You only have eyes for blue skirts and pigtails?… seated on a chair, quite indifferent to all the All vanish like a puff of smoke! He glances at Carmen, then returns calmly to his commotion, working on his priming-pin.) Watch them in the air above etc. priming-pin.) Don José Cigarette! You heard what Moralès was telling me, sir. Young Men Young Men 8 We have heard the bell summon us to meet Here she is! Zuniga here; Young Men (to the cigarette girls) I did! Now we lie in wait till the girls come out. Do not spurn us when we tell you Soldiers We can only gaze at such lovely creatures, Of our suff’ring, we beg you, Here she is! Don José Murmuring sweet words from a lover’s heart. You lovely creatures we adore Well, it’s true. She’s a girl from Navarra – that’s And worship from afar! Cigarette Girls, Young Men and Soldiers where I come from – but she and my mother are (At this moment the cigarette girls appear, Do not spurn us when we tell you etc. Here she is! living not far from Seville, to be near me… each with a cigarette in her lips. They cross the Here is our Carmencita! Little Micaëla… bridge and move down slowly onto the stage.) Chorus of Cigarette Girls Young Men (surrounding Carmen) Sweet whispers on lovers’ lips Zuniga Soldiers Carmen! And vows counted just to perish… And how old is little Micaëla? 9 Ah, just look! We will follow you high and low! Watch them rising up and unfurling Carmen! Don José So eager and bold! So snake-like and slow! Won’t you answer us, yes or no? Seventeen, sir. Young and coquettish! In her lovely mouth each one holds At least tell us when you might fall in love. Young Men Zuniga A cigarette. Carmen, please tell us when you might fall in love. Here what we say, we beg! Now I understand why you don’t notice the Carmen (gaily, after having looked quickly at Don girls… Chorus of Cigarette Girls Watch them in the air above: Chorus of Cigarette Girls José ) (The factory bell is heard.) Smoke rings curling, Cigarette! When I might fall in love?

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My God, I’ve no idea… Carmen (The young men once more encircle Carmen. She (Enter Micaëla.) The moment will come… or pass, who can say? But if I love you, then just watch out! looks at them one by one, then moves right, towards (resolutely) Don José. He raises his eyes and sees Carmen in Scene 7 But one thing is sure: not today. Cigarette Girls, Young Men and Soldiers front of him.) Watch out! Micaëla Carmen Corporal José? No. 4 Habanera Carmen Hey, you!… What are you doing? Don José (quickly hiding the cassia flower) Carmen When you thought you had caught him sleeping Don José What is it? Micaëla – it’s you! 11 Love’s a bird wild as any rebel Your bird took wing and flew away; I’m busy… No man on earth has learned to tame; Love is never there when you need him, Micaëla Carmen You can call as loud as you’re able: But when you don’t he comes to stay! It’s me! Why don’t you try busying yourself with me? If love won’t come, it’s all the same. All around you he’s swirling, swirling, (She seizes a cassia flower from the posy on her Don José Threats or pray’rs, you should never bother: He’s here, he’s there, he’s never gone; blouse and throws it at him.) You’ve come to see me! One talks a lot, the other sighs; You think you’ve caught him, off he’s whirling; You like this flower? It’s yours. And in truth I prefer the other: You think you’re free, he’s holding on! Micaëla He may be dumb – I like his eyes. Ah love! Ah love! (She hurries away.) Yes, your mother sent me. Ah love! Ah love! Cigarette Girls (laughing among themselves) Cigarette Girls, Young Men and Soldiers Love is a child of gipsy blood etc. No. 6 Duet Cigarette Girls, Young Men and Soldiers All around you he’s swirling, swirling etc. Love’s a bird wild as any rebel etc. (The factory bell sounds again. Carmen runs off Don José (moved ) 14 Carmen Carmen first into the tobacco factory. The young men leave Give me news of my mother! Love is a child of gipsy blood Love is a child of gipsy blood etc. to the left and right.) Micaëla (simply) (The lieutenant, who has been sharing a joke with Who cannot see what rules are all about; Cigarette Girls, Young Men and Soldiers I come on her behalf just as the humble bearer some workmen during this scene, leaves them and If you don’t love me now, I’ll love you: Then just watch out! Of a letter… If I love you, then just watch out! enters the guardroom after the soldiers.) Love is a child of gipsy blood etc. Don José ( joyously, looking at the letter) Cigarette Girls, Young Men and Soldiers Scene 6 Of a letter! Then just watch out! No. 5 Scene Micaëla Love is a child of gipsy blood etc. Don José Young Men 13 The cheek of it! (smiling) All that fuss because I And then some money, too… Carmen 12 Carmen! wouldn’t pay her any attention. (He looks at the (She gives him a small envelope.) If you don’t love me now, I’ll love you! We will follow you high and low! cassia flower lying at his feet, picks it up, and smells …That you can add to what they’re paying you. Cigarette Girls, Young Men and Soldiers Carmen! its fragrance.) The flower has an intoxicating (hesitantly) Then just watch out! Won’t you answer us, yes or no! scent – it smells of witchcraft… And then…

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Don José Don José (deeply moved ) Micaëla Micaëla And then?… You’ve a kiss from my mother! What demon? What danger? I do not He sees his mother’s face! etc. Micaëla understand… Micaëla What is all this about? Don José And then… Yes, a kiss for her child! 17 Wait a moment – I’m going to read the letter. It makes me tremble!… Don José Don José (He presses the letter to his chest before he begins to And then… and then she gave me something You’ve a kiss from my mother! Nothing! No! read it.) ‘Be on your best behaviour son: soon simple Let’s speak of you and of your message; you can leave the army and be with me and dear Micaëla Which money cannot buy, and which a faithful son Quite soon you’ll be going back home… little Micaëla…’ Would value more than anyone. Yes, a kiss for her child! José, I kiss you now just as I said I would. Micaëla Micaëla (interrupting him) Don José (Micaëla raises herself a little on her toes and gives Yes, in the evening: tomorrow I’ll see your dear It’s better if I go – you read it by yourself. This something simple that she gave you, Don José a simple, motherly kiss.) mother. Please explain… Don José Don José (continuing to look at Micaëla) Don José But what about the reply? Micaëla 16 I see my mother’s face!… You’ll see her then! Ah well! Yes, I shall explain. I see her there in our village! You say these words: Micaëla And what she gave to me Another time, another place, Your son still loves you very dearly… I’ll come back for it later. I shall give you in turn. Oh mem’ry so dear and sweet! He’s sorry he left you alone… Don José 15 Your dear mother and I were leaving church this I never can forget! And don’t judge him too severely, Micaëla!… morning, Micaëla But be proud of your son. When all at once she hugged me tight. He sees his mother’s face! etc. Ev’ry word I have said, my darling, Micaëla My dear, she said to me, you must go to the city: You repeat to her without fail; I’ll come back. It isn’t far to travel, and when you reach Seville Don José and Micaëla And as I kiss you when we’re parting You find my only son, my José, my dear child! You shall renew my/his heart and soul with From my heart, you kiss her as well. (She leaves.) And from his old mother you tell him strength and courage!… Oh mem’ry dear and sweet! etc. (He hugs Micaëla.) That she thinks of him night and day, Scene 8 That she is sad, that she is waiting, Don José (to himself, eyes fixed on the factory) Micaëla (simply) And that she loves him come what may. What demon might have taken my soul as its prey? I promise I shall say that her son loves her still, Don José (reads) Every word I have said, my darling, (collects himself ) And then give her the kiss just as I say I will. ‘…little Micaëla. She would be the perfect wife You repeat to him without fail; From far away my mother sends her aid, for you, she’s kind, she’s wise…’ Yes, mother, I And as I kiss you when we’re parting And sends a kiss this very day Don José shall do what you say. I shall marry Micaëla. As From my heart, you kiss him as well. To drive away the danger that besets her child. I see my mother’s face! etc. for that gipsy…

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(At the moment he moves to tear the flower from Second Group of Cigarette Girls (pulling the (Don José takes two men with him, the soldiers go Second Group his shirt, loud noises can be heard from inside the officer to their side) into the factory. At the same time the women crowd Manuelita did! tobacco factory. Entry of Lieutenant Zuniga Manuelita carried on, round, arguing among themselves.) First Group followed by his soldiers) So that the whole world could hear her, First Group of Cigarette Girls Carmencita did! That this donkey was a treasure It’s Carmencita’s fault! etc. No. 7 Chorus And she meant to buy it soon. Second Group Second Group of Cigarette Girls Manuelita did! Cigarette Girls (off-stage) First Group of Cigarette Girls 18 No, no, she didn’t start it! etc. First Group Come and help! Come and help! That made Carmencita laugh Yes! Zuniga (shouting) And then, sarcastic as usual, Zuniga (to the soldiers, loudly) What’s going on in there? She said: ‘Will a donkey suit you? Hey there! Second Group Get all these women away from me now! No! (The cigarette girls exit the factory rapidly and in Won’t a broomstick be enough?’ confusion.) Second Group Cigarette Girls First Group Oh sir! Oh sir! Yes! She was the one who first hit out! etc. Cigarette Girls (onstage) Manuelita in a flash Come and help! Come and help! Replied, screaming like a fishwife: Soldiers (trying to push the women back) Second Group Can’t you hear the noise? ‘If you want to have a nice ride Calm down! No! She was the one who first hit out! etc. I’ll send you my lovely ass! Come and help! Come and help! Just get away and stop your noise! Soldiers Come on, soldier boys! First Group (The cigarette girls evade the soldiers who are trying Calm down! It’s Carmencita’s fault! Then you’ll get something at last, to move them away. They rush towards the Just get away and stop your noise! etc. No, no she didn’t start it! Something big you can be proud of, lieutenant and resume their chorus.) (The square is finally cleared.) It’s Carmencita’s fault! And we’ll cheer our little mouths off (The cigarette girls scream as they are being No, no, she didn’t start it! As we watch you sweeping past…’ Cigarette Girls She did! Don’t listen to their lies! etc. chased away.) Both Groups It’s not true! (Carmen appears at the factory gate, led by Don Then we saw both of the girls First Group She did, she really did! José and followed by two soldiers.) Pulling at each other’s curls. It’s Carmencita’s fault: She was the one who first hit out! She was the one who hit first! Scene 9 (surrounding the lieutenant) Zuniga (with humour) Second Group (to Zuniga) To hell with all this idle chatter! Zuniga It’s Manuelita’s fault: 19 Don’t listen to their lies! (to Don José) So, corporal: tell me what happened. She was the one who hit first! Listen to us! You go, José, and take two other men: Don José No, sir! Find out just what has caused all this uproar First Group There was a fight, sir, and one of the women was Yes, sir! inside there! Carmencita did! wounded.

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Zuniga Carmen (looking brazenly at Zuniga) Scene 10 breast pocket – the one I threw… You don’t And who was responsible? Tra la la la la la la la, (A moment of silence. Carmen looks up at Don José. need it any more, by the way: it’s already cast its I’ve a secret to keep and won’t give it away! He turns away, takes a few paces back, then moves spell… Don José (hesitating) Tra la la la la la la la, forwards towards Carmen, who is still looking at him.) This woman, sir. Don José (angrily) I love someone, but you’ll never know who Carmen I love. Don’t speak to me, do you hear! I forbid you to (After throwing a glance at Don José, Carmen 21 Where are you taking me? speak… gives her shoulders a light shrug and sits impassively.) Zuniga (spoken) Don José Carmen If that’s the way you want it, you can sing to To prison. Very well, mister corporal: you forbid me to Zuniga your heart’s content – in prison! Carmen speak, I won’t say another word… Carmencita? (At this point, five or six women on the right Oh please, mister corporal sir, have pity on me! manage to break through the line of guards and (She looks at Don José, who retreats.) The rope is so tight, it’s hurting my wrists. Don José rush forward. One of the women is next to Yes, sir. Carmen, who raises her hand and tries to throw Don José (approaching her) No. 9 Song and Duet (Carmen turns abruptly to Don José and throws herself at her. Don José stops Carmen. Soldiers I suppose I can loosen it a bit… him another glance.) move the women back, this time pushing them off Carmen (whispering to him) Carmen (frequently looking intently at Don José, the stage completely. A few sentries are still to be Set me free and I’ll give you a charm that will who little by little draws nearer) Zuniga seen, guarding the approaches to the square.) 22 There’s an old bar in the city, 20 make all the women love you… Well, Carmencita: what do you have to say for My God, you’re ready with your fists, Run by my friend Lillas Pastia; yourself? Carmencita! Don José (moving away from her) I go there to dance Seguedillas Don’t be ridiculous! You’re going to prison and And drink cool Manzanilla… Carmen (humming impertinently as she looks at No. 8 Song and Melodrama there’s nothing to be done about it. In the bar of my friend Lillas Pastia. Zuniga) (Instead of replying, Carmen begins to hum.) Carmen Yes, but if I’m alone I’m lonely: Tra la la la la la la la etc. You can’t fool me! You will do everything I ask; Life’s pleasures are for two to share; Carmen you’ll do it because you love me. So, for my own amusement only Tra la la la la la la la, Zuniga I’ll have my sweetheart with me there! You can beat me and burn me, I’ve nothing to It’s a pity, a great pity: you’re a real charmer. But Don José (smiling) say! you’ll have to learn your lesson. Corporal! Tie I… love you! My sweetheart, no… Tra la la la la la la la, those pretty little wrists! You can take her to the That story’s over… I’ll brave fire and the sword, even heaven above. cell later. Carmen Yes, you love me. There’s no point in denying it: I sent him packing yesterday! Zuniga (spoken) (Carmen, attempting no resistance, smilingly holds I know. The way you look at me, the way you So my poor heart pines for a lover, I don’t want a song; I want an answer! out her two hands to Don José.) speak to me, the flower you’ve kept in your My heart is free as air today!

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I have admirers, two a penny, He’s only a corp’ral, Don José (spoken) Carmen pushes José, knocking him over. Confusion But none of them will really do. But that’s enough for a poor gipsy girl, 23 Careful – it’s the lieutenant! and disorder. Carmen runs off. In the middle of the The weekend’s here and I am ready: So I think I’ll make do with him. bridge, she stops a moment, tosses the rope over the (Carmen returns to her stool, hands behind her Do you want love? I want it too! parapet and escapes, while below the cigarette girls Don José back. Enter the lieutenant.) You want my soul? Carmen, it’s as if I’ve been drinking! encircle the lieutenant, laughing loudly.) Yours for the taking! (jostle) If it happens, if I release you, Scene 11 You’ve come in time to join the ride! Do you promise that you’ll be true? (widespread laughter) In a moment I shall be racing, Ah! If I love you, Carmen, No. 10 Finale Curtain as Carmen tosses the rope With a new lover at my side, Carmen, you’ll love me, too! (Zuniga leaves the guardroom.) To that old bar in the city, 24 Entr’acte Run by my friend Lillas Pastia; Carmen Zuniga (to Don José) I go there to dance Seguedillas Yes. Take the order and go! Act II Be careful with your pris’ner. And drink cool Manzanilla… Don José (loosens the rope that binds Carmen’s Yes, in the bar of my friend Lillas Pastia! Scene 1 hands) Carmen (in a low voice, to Don José) Curtain rises on Lillas Pastia’s bar. Tables to the Don José (hard ) At Lillas Pastias… At the door I’ll push you away, right and left. Carmen, Mercédès, Frasquita, Be quiet, I have told you before not to speak to Carmen I’ll push you away Lieutenant Zuniga, Moralès and a lieutenant. me here! We’ll soon be dancing Seguedillas… Just as hard as a woman can. Dinner is over. The table is cluttered. The officers You fall over and curse: and the gipsies are smoking cigarettes. Two gipsies Carmen (simply) Don José The rest is up to me. strum a guitar in a corner while in the middle of I’m not speaking to you: You promise me! (She places herself between the two soldiers, Don the stage another two dance. Carmen is seated I’m singing to myself now! Carmen… José beside her. Meanwhile, the women and And I’m thinking! watching the dancers. The lieutenant is talking to Carmen townspeople have entered, still kept at a distance by It’s surely not forbidden to think. her in a low voice, but she takes no notice of him. And drinking cool Manzanilla… Ah! soldiers… Carmen crosses the stage from left to To think of a soldier I’ve seen Suddenly, she stands and begins to sing. Don José right towards the bridge… humming, and smiling Who loves me and who in turn, into the face of Zuniga.) Yes, who in turn could waken love in me. You promise me!… No. 11 Gipsy Song Love is a child of gipsy blood (The dancing ceases.) Don José (moved ) Carmen Who cannot see what rules are all about; There’s an old bar in the city, If you don’t love me now, I’ll love you: Carmen Carmen! 25 Run by my friend Lillas Pastia; If I love you, then just watch out! From far away mysterious sounds, Carmen (intently) We’ll go there to dance Seguedillas Like bells that echo ever sweeter, He’s not a high ranking officer, though, And drink cool Manzanilla… (She begins to march with Don José and his soldiers. Would sing a strange refrain to greet her, Not a captain at all: Tra la la la la la la la la la la etc. On reaching the entrance to the bridge on the right, The gipsy girl from distant lands.

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And tambourines would join the game The pounding rhythm of that song Zuniga Zuniga With passionate guitars, unleashing Created madness, fury, fever, Oh Frasquita! What about you, Mercédès? You’re very easy to please. Their rhythms distant but unceasing, And the girls were lost, lost for ever, Mercédès (The scene is interrupted by a chorus sung off- Ever this song, ever the same! In the storm sweeping them along! I have to stay, too. stage.) Tra la la la, tra la la la. Tra la la la, tra la la la. Zuniga (The dancing resumes.) (The dancing resumes.) Surely you’ll come, Carmen? No. 12 Chorus and Ensemble Frasquita, Mercédès and Carmen Frasquita, Mercédès and Carmen Carmen Friends of Escamillo (off-stage) Tra la la la, tra la la la. Tra la la la, tra la la la. Certainly not! 27 Hurrah! Hurrah! The Torero! (Mercédès, Frasquita and Carmen take part in the (The dancing ceases.) Zuniga (privately to Carmen) Hurrah! Hurrah! Escamillo! dance.) Hurrah! Hurrah! Hurrah! Carmen Do you still hate me for being so cruel and And bangles of silver and brass Zuniga sending you to prison? Zuniga 26 Bravo, bravo! More! Keep dancing! 28 Would glisten in the sultry evening, Carmen Who’s that? Reflected in eyes dark and gleaming, Frasquita Prison? I don’t remember going to prison… Frasquita As the gipsies began their dance. It’s closing-time and you know how strict Lillas It’s Escamillo, the bullfighter from Granada. And soon the song and dance were one, Pastia is about closing… Zuniga No, but the corporal – the ex-corporal – who Zuniga At first a slow and gentle beating, Zuniga But quicker then, the tune repeating helped you escape went to prison in your Invite him in. Of course: so as not to keep your smuggler place… (calling out of the window) And driving on and on and on and on! friends waiting… Tra la la la, tra la la la. Carmen Señor Torero, would you like to join us for a Mercédès Oh! drink? (The dancing resumes.) How can you say that? It’s the regulations. Zuniga Friends of Escamillo (off-stage) Frasquita, Mercédès and Carmen Zuniga (laughing) Yes, a month in prison… Hurrah! Tra la la la, tra la la la. All right, all right… But it’s hours before roll- Carmen (Escamillo’s entrance) (The dancing ceases.) call: would you beautiful girls care to accompany us to the theatre? But he’s been released? Zuniga, Officers, Friends of Escamillo, Carmen Zuniga Mercédès, Frasquita, Carmen and Moralès The men, with devils in their hands, (Lillas Pastia gives a sign to the gipsies that they (onstage) should refuse the offer.) Today. Would play a dazzling invocation 29 Hurrah! Hurrah! The Torero! That filled with wild intoxication Frasquita Carmen (suddenly vivacious) Hurrah! Hurrah! Escamillo! Those gipsy girls from distant lands. No, we’d better stay here… Then everything’s all right! Hurrah! Hurrah! Hurrah!

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Scene 2 Escamillo Zuniga Escamillo All at once a deathly silence… 31 We’ll come with you, Señor Torero, we’ll join Ah! No. 13 Couplets A deathly silence… the crowd completely still… your procession. No shouting! Here he comes! Carmen Escamillo No shouting! Here he comes! Escamillo That’s how it is. 30 It would be an honour! You’re most kind and in return I toast you, It’s the moment they release the bull from the Escamillo Señors, señors, for we are allies. Toril! (The officers prepare to leave. Escamillo has moved I’ll wait then – and hope… Yes, the Toreros and you brave soldiers Out he dashes! He’s there, he’s charging!… closer to Carmen.) Have a bond, such a bond! A horse falls over, dragging down a Picador. Carmen We fight for our lives! ‘Ah! Bravo! Toro!’ people are yelling. Friends of Escamillo There’s no law against waiting and it’s always The ring is full, is full to bursting! Back turns the bull… and then… and then… Hurrah! pleasant to hope. A holiday for everyone! charges once more! Escamillo (to Carmen) Zuniga (to Frasquita and Mercédès) And through the crowd madness is raging: He shakes his horn in angry triumph, Tell me your name and I shall whisper it under So, you’re not coming? Men, women, children all shout as loud as they He runs about, he leaps: his blood is everywhere! my breath the next time I kill a bull. can! Our man’s gone and the ring is empty! Frasquita and Mercédès (at another sign from Someone curses, the shouts redouble, Now it’s your turn out there! Carmen Lillas Pastia) Rising to fury in reply! Come on! Be ready! Carmencita. No. They know today’s a day for courage! Come on! Come on! Ah! And a day when a man may die! Toreador, be ready! Escamillo Zuniga (privately to Carmen) Come on! Be ready! Toreador! Toreador! Carmencita? I’ll be back in an hour… Come on! Come on! Ah! Dream of a single voice among the roars, Carmen Carmen Toreador, be ready! Dream of two flashing eyes, Here? Toreador! Toreador! Dream that her love is yours, Toreador! Carmencita, Carmen, whichever you prefer. Dream of a single voice among the roars, Zuniga Her love, her love is yours! Escamillo Dream of two flashing eyes, After the roll-call… Well, Carmencita or Carmen, if I were to think Dream that her love is yours, Toreador! Frasquita, Mercédès, Carmen, Moralès, of loving you and of you loving me back, what Her love, her love is yours! Escamillo, Zuniga, Officers and Friends of Carmen Escamillo would you say? I’d rather you didn’t. Toreador, be ready! etc. Frasquita, Mercédès, Carmen, Moralès, Carmen Zuniga Escamillo, Zuniga, Officers and Friends of (Frasquita observes Escamillo; Escamillo observes I would say that you can love me as much as you Nonetheless, I shall. Escamillo Carmen.) like but, as for me loving you back… at the (out loud ) Toreador, be ready! etc. (All drink and shake hands with the bullfighter.) moment… don’t even dream about it! Time to go, men!

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No. 13 Chorus Encored Mercédès and Frasquita Remendado and Dancaïre Dancaïre You’re sure it will go well for you? But, surely now, you must agree? Now… Straight away! Friends of Escamillo 32 Toreador, be ready! etc. Dancaïre Frasquita, Mercédès and Carmen Carmen Absolutely certain, my darling… Ah! Just hold on… just hold on! (All leave except Carmen, Frasquita, Mercédès and Undoubtedly we must agree. We need you, though, to help us through! (to Mercédès and Frasquita) Lillas Pastia.) Remendado Dancaïre and Remendado If you all want to go, be gone! We need you, though, to help us through! But, surely now, you really must agree? But I shan’t be one of the party. Scene 3 I’m staying here… I’m staying here! (Enter Dancaïre and Remendado. Lillas Pastia Carmen, Frasquita and Mercédès Frasquita, Mercédès and Carmen closes doors and shutters.) You do? Of course, undoubtedly we must agree. Remendado and Dancaïre Carmen, we need you too, my dear, Dancaïre and Remendado Frasquita, Mercédès, Carmen, Remendado and And surely you don’t have the heart Scene 4 We do! Dancaïre To let us down and not to care? Remendado Frasquita, Mercédès and Carmen When it’s a question of deceit 33 At last! Carmen What! Need us all to help you through? Working a beat, I’m staying here, I’m staying here! Frasquita You do? Playing a cheat, We got rid of them as quickly as we could. So, Dancaïre and Remendado You can be sure there’s no disgrace Frasquita and Mercédès you pair of scoundrels, what’s the news? We do! In having women on the case. Ah! My Carmen, you must be there! With great respect we have to say, And without us/you there is no doubt, Dancaïre Dancaïre And in a deeply humble way, You/we men cannot begin to win! We’re just back from arranging a ‘shipment’. And Yes, when it’s a question of deceit, But at least tell us why, Carmen, that’s only fair! that’s why we’ve come to see you. Yes, with respect we have to say: When it’s a question of deceit, A tricky beat, A subtle cheat, Mercédès and Frasquita Frasquita Working a beat, Tell us why, tell us why! Really? Playing a cheat, You can be sure there’s no disgrace You can be sure there’s no disgrace In having women on the case. Remendado and Dancaïre Mercédès In having women on the case. Tell us why, tell us why! Dancaïre Really? And without you there is no doubt, That’s it: we’re off! We men cannot begin to win! Carmen No. 14 Quintet You’re coming, then? Well, all that I can say is this… Frasquita, Mercédès and Carmen Dancaïre What! Without us there is no doubt Frasquita and Mercédès Dancaïre, Remendado, Frasquita and Mercédès 34 There’s a little job that we’re starting! You men cannot begin to win? You just say when. Go on! Go on!

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Carmen Carmen Carmen What are you doing here, The reason, put quite simply, is… My friends, at any other time What makes you think that? Man from Alcala? I’d come along to help you out; Here I have a rival Remendado, Dancaïre, Frasquita and Mercédès But just this once I can’t oblige you; Dancaïre (furious) And I shan’t be going Is what? Is what? Duty shall give way to love: love comes first for Carmen! Till his blood is flowing. Carmen tonight… Carmen (very calm) If it’s as you say, …that I am in love! I have no choice: love comes first for tonight! Well! ( pause) You can go ahead without me; I’ll Friend, be on your way: Dancaïre join you tomorrow. But… this evening I’m Honour and love Remendado and Dancaïre (in amazement) That cannot be your final word? staying here. Are all that we have What did she say? What did she say? When we travel far, Carmen Frasquita Far from Alcala! Frasquita and Mercédès Oh, but it can! I’ve never seen you like this. Who is he? She’s telling us that she’s in love! (He can be heard approaching.) Remendado Carmen Remendado, Dancaïre, Frasquita and Mercédès It really would be better to give in! A poor young soldier who helped me out. Mercédès She’s in love! She’s in love! Look – he’s handsome! Frasquita, Mercédès, Remendado and Dancaïre Mercédès Carmen You think again, Carmen, you think again! The one who was in prison? Frasquita Yes, I’m in love! You must take part in the job we’re starting Carmen He’s very handsome! For as you know… Yes. Dancaïre Dancaïre Talk sense, Carmen! Carmen Dancaïre Well, since you refuse to come tonight, you Heavens above! I know all that and I admit it’s true:… He’ll never turn up: I’d bet good money on it. know what you have to do tomorrow? Frasquita, Mercédès, Carmen, Remendado and Carmen (Don José is heard singing off-stage.) Carmen Dancaïre I’m in love, head over heels! What? When it’s a question of deceit etc. Carmen How much would you like to lose?… Dancaïre Remendado and Dancaïre (with irony) Dancaïre Make him come with you. Your news has put us in a whirl; 35 Being in love is not a reason. No. 15 Song But this is yet another chance Carmen Carmen To show us that you know, my darling, Don José (in the far distance) You’re wasting your breath. If only I could! But there’s no point: he’s too silly. Only too well that duty comes first, duty first, Stop! beware! then romance. Dancaïre Who goes there? Dancaïre You have no choice: duty first, then romance. I’m the boss and you’ll do as I say. I’m from Alcala! Then why are you in love with him?

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Carmen Don José COMPACT DISC TWO This music’s very cheery: Because he’s good-looking and I like him. I was stripped of my rank, too, but none of that Let them play! I shall dance. matters to me… No. 16 Duet (Don José resumes looking at Carmen, who dances Dancaïre and plays the castanets.) But there are plenty… Carmen Carmen (with comical seriousness) 1 La la la la la la la la… Because you love me? To bid you welcome to our bar Carmen I mean to dance, Señor; (The bugles sounding the retreat draw nearer, pass, Get out, all of you. Lillas! Ham, olives, oranges, Don José And, since there is no music, then slowly fade into the distance.) sweets, Manzanilla! Because I love you, because I adore you. I myself shall play it! (Don José attempts once more to rouse himself from (She makes Don José sit.) contemplation of her.) (Remendado exits. Dancaïre follows, leading Carmen Sit over there, Don José, Mercédès and Frasquita who try to calm him. Don Some of your officers were here just now and we And enjoy it! Don José (forcing her to stop) José enters.) danced for them… The lieutenant said he adores (She dances and hums, accompanying herself with You still don’t understand, Carmen… what the me, too… the castanets. Don José looks at her ecstatically.) retreat means: Scene 5 2 La la la la la la la la… I must go back to camp for the roll-call at once! Don José (During the scene, Lillas Pastia brings a tray with Carmen! (Bugles sound from afar.) (The sound of the retreat stops suddenly.) food and drink, then leaves.) Don José (taking Carmen by the arm and forcing Carmen (stupefied, looking at Don José who puts Carmen Carmen her to stop) on his belt and cartridge strap) What’s this? Are you jealous? At last! Did you hear that, Carmen? 3 Back to camp!… Go at once!… Stop for a moment. Just listen… Don José Ah! I really have been stupid! Don José I took a lot of trouble and paid good money, too, They only let me out of prison two hours ago… But of course I’m jealous! Carmen (surprised ) And what for, may I ask? Yes, paid good money, too, to entertain my lord. And I sang! And I danced! Carmen Carmen Don José I thought, may God forgive me, So you came straight here… You don’t regret You really are a silly boy! You’re jealous because I I was sure that… out there… That it might have been love! being thrown into a cell because of my pretty danced for those other soldiers… Very well! Yes, those bugles are ours: they’re sounding the Ta ra ta ta… face? Where are my castanets? retreat. He thought he heard a bugle! Don’t tell me you can’t hear! Don José Don José Ta ra ta ta… No. I love you so much! Carmen (spiritedly) Oh dear, he’d better go! Bravo! Bravo! I tried my hardest: but still, it’s Run along! Carmen Carmen rather dreary Don’t be shy! Really? I should hope so, too. When the orchestra’s missing… (furiously as she flings his cap after him)

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Wait! Don José How can it be the will of Fate Carmen You’ll need your cap and sword, try to catch them! Hear what I say! That I descend to such a state? Far and away we both would ride! And be off, little boy, be off! Then I cursed myself for blaspheming; And you would follow me with pride, Scurry back to your barracks! Carmen For, within the depths of my being, Onto your horse you’d sweep me up and You’ll be keeping them waiting! I knew there lay one secret joy, gallop… Don José (tenderly) Don José One secret joy, one secret pain: You’d always keep me at your side! It is not right, Carmen, for you to taunt me so! Hear what I say! To see you, oh Carmen, you once again! Far and away to distant lands… I cannot bear to leave: Just that first sight of you inspired me, I never met before, before I was with you, Carmen Just the way that you met my gaze: Don José No, never, no, before I was with you, You’ll be keeping them waiting! You have possessed my soul entirely, Carmen! I never met a girl who moved me so profoundly. Don José Oh my Carmen! Carmen And I’m a plaything in your eyes! Carmen Yes, hear what I say! Far and away we both would ride! Carmen, I love you! Ta ra ta ta… Carmen We both would ride, My God! The bugle’s calling! No! No! No! No! Carmen If you decide! Ta ra ta ta… 5 No, it’s not love at all! Out there you must answer to no one: I’m late for the retreat! Don José (violently) No little men who try to tell you what to do, Oh my God! I insist, Carmen! Don José And no bugles calling to summon Oh my God! The bugle’s calling! Hear what I say! Don’t say that! The poor young man in love when it’s time he The retreat! I’ll be late! (With the left hand he has seized Carmen brusquely Carmen should go! His head is spinning! by the arm. With the right he searches within his No, it’s not love at all! The sky above, the open road, He’s off! He knows just how to love! uniform jacket for the cassia flower which she had No! All Creation is yours; thrown to him in Act I. He shows it to Carmen.) For you would decide… Be the man you want to be, 4 Don José That flow’r you threw to me I treasured Away… Away we both would ride! And rejoice, for you have discovered You mean you don’t believe my love is true? And by its bloom my days were measured. That we are free! It dried and withered, yet my cell Don José Carmen Filled with its sweet and haunting smell. Carmen! Don José I don’t! I would pass the hours of waking, My God! Carmen Eyelids closed, that perfume inhaling, Don José Yes! Carmen Until its pow’r was hard to bear; You must! Hear what I say! Far and away to distant lands… Far and away to distant lands… Then night would fall and you were there! Carmen I took to cursing our first meeting, Don José Don José (quite shaken) I’ve heard it all before! And then cursing you, and repeating: Carmen! Carmen!

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Carmen To run away now… to desert… Carmen Zuniga (severely) Far and away, if you decide… That is shameful… that is a crime!… Farewell! Be gone! Do what you’re told! No, I shall not! Don José (Don José runs towards the door. At the moment he Don José Be quiet! Carmen (in a hard tone) reaches it, someone knocks. Don José stops. Silence) I’m staying where I am! Carmen All right! Go! Zuniga (striking Don José) Far and away we both would ride, Scene 6 Don José (imploringly) Idiot! And you would follow me with pride… Carmen, won’t you listen? No. 17 Finale Don José (almost defeated ) Don José Carmen Zuniga (outside) God help me! I’ll beat you black and blue! Ah! Carmen, I’m lost! No! I’ve heard quite enough! Be quiet! Be quiet! My God! 6 Hello! Carmen! (The lieutenant half unsheathes his sword.) Don José Hello! Hello! Carmen I beg you! You’d always have me at your side, Don José Carmen (throwing herself between Don José and Zuniga) You’d sweep me up onto your horse and gallop… Carmen Who’s knocking! Who’s out there? You’re crazy both of you! Away we both would ride, Go! You’re a bore! If you decide! Carmen (calling) Don José Be quiet… Be quiet! Come out! Come out! Don José Carmen! (Dancaïre, Remendado, Mercédès, Frasquita and I’m lost! I’m lost! No more, Carmen, no more! Zuniga (entering after having forced the door gipsies appear from all sides. Carmen indicates the Oh my God! I’m lost! Carmen open) lieutenant to the gipsies; Dancaïre and Remendado Carmen Farewell! I pushed it open… I’m in now… throw themselves at him and disarm him.) Ah yes, you’re right! And farewell to our love! (He sees Don José.) (to Zuniga in a mocking tone) (to Carmen) 7 Your heart is mine… Don José (with pain) Lieutenant fair, it’s true What’s this! What’s this, my lovely! And now you’re lost! It’s done, past… Farewell! That Love has played a rather dirty trick on you! That’s not a happy choice! Far and away we both shall ride… Farewell to our love! Your timing was so bad, You love me: keep me at your side… To take the soldier boy Alas! And I regret to say, Away, away we both shall ride! Carmen Betrays a lack of class when the officer’s nearby. Since you might give the game away, Be off! (to Don José) That we must tie you up… just for an hour! Don José Clear off !… and quickly! Ah! Be quiet! Be quiet! Don José Remendado and Dancaïre (to Zuniga, pistol in (brusquely grabbing Carmen’s arms) Carmen! Farewell! Don José (calm but resolute) hand; amiably) No! I’ll hear no more of such words! Farewell to our love! No! My dear young sir!

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Begging your pardon, but we have to leave this Carmen Don José (carried along with them) Frasquita, Mercédès, Carmen, Don José, bar now; Ah! That wasn’t nicely put. Ah! Remendado and Dancaïre So will you come with us? But, you’re coming! We have a job, we have a job to do: So… you’ll be all right All The life is good, the life is hard, Carmen (smiling) 8 When you find out The sky above the open road, You need a will of iron! An outing would be splendid! How you can live beneath the sky: The open road, the sky above, And dangers lurk, they lurk at every turn: Remendado and Dancaïre All Creation shall be yours; All Creation shall be yours; There’s one in front, there’s one behind, Don’t make a fuss! Be the man you want to be, Be what you want to be,… Look anywhere, you’ll find one! And rejoice, for you have discovered Yes, all Creation shall be yours, We press on to our goal, casting danger Remendado, Dancaïre and Gipsies That we are free! Do what you want, aside! Come on, we’re all so friendly! Be what you want to be, We press on through the storms, through the Frasquita, Mercédès, Carmen and Gipsies Zuniga (handling his predicament cheerfully) And then rejoice, for you’ve discovered… thunder and lightning! (to Don José) Of course I shall! That we are free! There are soldiers out there, but we shan’t be Come ride with us over the plains: (with irony) afraid, Find a new life up in the mountains; Curtain You should know that I’d hardly dare Though they’re ready and waiting to join in Come on, and you’ll be all right Turn down an invitation that’s so very pressing. the fighting: When you find out about 9 Entr’acte (changing his tone) We press on casting danger aside! How you can live beneath the sky: But later on… beware! Keep going, dear old friend, keep going! etc. All Creation shall be yours; Act III Dancaïre (philosophically) Be the man you want to be, Curtain rises on a wild place in the mountains. Gipsies That battle’s never over! And rejoice, for you have discovered My friend, a fortune’s to be made: But for the time being we’ve won: That we are free! Scene 1 So may we ask you to hurry along? You must keep going, dear old friend; Remendado, Dancaïre and Gipsies (to Don José) No. 18 Introduction: and Chorus Be careful, look what you’re doing: Remendado and Gipsies Friend, ride with us over the plains: (The gipsies enter.) You’ll stumble if you don’t take care! So may we ask you to hurry along? Find a new life up in the hills; (Zuniga exits in the company of four gipsies You’ll be all right Gipsies All holding their pistols.) When you find out 10 Keep going, dear old friend, keep going! Be careful! Be careful! What it’s about,… There’s a fortune to be made out there; Carmen (to Don José) How you can live under the sky: But be careful, look what you’re doing: Dancaïre You’re one of us now, I presume? All Creation is yours; You’ll stumble if you don’t take care! 11 Right! Let’s stop for a while: if you’re tired, rest. Don José (sighing) And rejoice, for you have discovered Keep going, dear old friend, you must keep We’ll go ahead and see how we can smuggle this I have no choice! Yes! that we are free! going etc. stuff in.

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Scene 2 Don José Frasquita Frasquita If you keep talking like that, if you won’t do Well, a bold young lover I see Ah! Don José what I say… Who swears that he’ll always be constant… Listen, Carmen… I’m sorry if I spoke harshly. Frasquita and Mercédès Let’s make up… Carmen Mercédès Now deal again and let them tell us You’ll kill me, perhaps? (pause) I’ve seen it in the A rich older man here for me, Of every joy and pain that may befall us. Carmen cards: we’re fated to die together. Well, what And he marries me in an instant! They know just who the traitors are! No. happens, happens. Frasquita ( proudly) They know who our true lovers are! Don José They know, they know! Don José …Then he sweeps me up on his horse You don’t love me any more, then? Are you the devil, Carmen? And carries me off to the mountains. Mercédès (resumes consulting the cards) Carmen Mercédès My fortune! I certainly don’t love you as much as I used to Carmen I live in a castle, of course, Frasquita and, if you carry on, I will end up not loving Yes. I’ve told you already. With turrets and gardens and fountains. My love! you at all. (She turns her back to Don José and walks away. Frasquita Carmen (who follows the card game of Mercédès Don José After a moment’s hesitation Don José too walks off, He is passionate to a fault: and Frasquita with her eyes) Are you the devil, Carmen! and lies down on some rocks.) Every day he says how he’ll love me! Come on,… let me see what I have. Carmen No. 19 Trio Mercédès (All three begin to turn cards.) Yes. (pause) What are you thinking? (Carmen is seated by the fire. Mercédès and He show’rs me with silver and gold, Diamonds! Spades! Frasquita, squatting on the ground, spread out a Diamonds and pearls, all he can give me! That’s death! It’s quite clear… Don José First for me,… pack of cards in the firelight.) Frasquita I’m thinking that there’s a village not far from ( pointing to the sleeping Don José) My lover becomes a great chief: here where a good old woman lives who believes Frasquita and Mercédès …And then for him… that I am still an honest man… A hundred men march in his shadow! 12 Shuffle! There’s no escape: we die! Carmen Cut them! Mercédès (in a low voice, as she continues to shuffle the cards) What good old woman? Yes! that’s all right! And mine… And mine… This is hard to 13 In vain you would avoid the bitter things they’re First three and then four: deal them out! Don José believe… saying, We read the cards and let them tell us My mother. Yes… You deal again and try! Of every joy and pain that may befall us. (joyously) You only waste your time, the cards remain Carmen They know just who the traitors are! He dies! unchanging, Your mother. Well, go back to her… This life They know who our true lovers are! (eagerly) And they can never lie! doesn’t suit you. They know, they know! Ah! I am rich and a widow! If Destiny has spared you suffering and fury,

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Then deal and have no fear, Carmen Carmen Mercédès The cards that you turn up will tell a happy You die! You die! I certainly do! What a very lenient man! story Again… You die! Don José (furiously) Of life without a care! Frasquita, Mercédès, Carmen, Remendado, Mercédès Carmen!… But if your death is near, if Destiny has written Dancaïre and Gipsies My fortune! The words none shall deny, Dancaïre He’ll play the lad! You may deal twenty times, the cards cannot be Frasquita That’s enough of your jealous tantrums! We’re Carmen beaten, My love! going ahead. José, stay here. Stand guard and What a very charming man! They always say: you die! Carmen make sure we’re not being followed… I give you Yes, if your death is near, Frasquita, Mercédès, Carmen, Remendado, Once more: you die! permission to take your bad temper out on You may deal twenty times, anyone you don’t like the look of… Are we Dancaïre and Gipsies The cards cannot be beaten, Frasquita, Mercédès and Carmen ready? He’ll want to please! They always say: you die! They know! They know! Frasquita (turning cards) Remendado (to the women) (Dancaïre and Remendado return.) What a very gallant man! Again!… Again!… Always: you die! And are you ready for that customs officer of yours?… Mercédès Frasquita and Mercédès Scene 3 And we might find he’s an enterprising man! Now deal again and let them tell us Frasquita No. 20 Ensemble Piece Frasquita, Mercédès and Carmen Of every joy and pain that may befall us. 14 You’re back! Yes, he’s a man, it should be easy! They know just who the traitors are! Frasquita, Mercédès and Carmen Dancaïre Like all the rest he’ll want to please etc. Carmen 15 As for that man, it should be easy! We found where the town wall has fallen down; Why don’t you send us on ahead? Again! Like all the rest he’ll want to please, but it’s guarded by a customs officer. Frasquita and Mercédès He’ll flirt and try to play the lad. Remendado, Dancaïre and Gipsies Mercédès They know who our true lovers are! Ah! Why don’t you send us on ahead? As for that man, they’ll cope with ease! Did you find out his name? He’ll want to please! Like all the rest he’ll want to please etc. Carmen Dancaïre He’ll play the lad! Again! Gipsies Bartolomé… They bring despair! Frasquita, Mercédès, Carmen and Gipsies Why don’t you send them on ahead? Carmen (laughing) As for that man it should be easy! etc. Frasquita and Mercédès Frasquita, Mercédès and Carmen Then there’s no problem… Again they know! Frasquita, Mercédès, Carmen, Remendado, It doesn’t mean we’ll go too far; They know just who the traitors are! Remendado Dancaïre and Gipsies No, all it means is, in a word, They know who our true lovers are! You know him? He’ll want to please! We’ll let him put his arms around us,

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We’ll let him say something absurd, Micaëla José! He’s looking the other way – (frightened ) Escamillo (unconcerned ) And if we must give him a smile, Yes, you go back. I’ll be quite all right. what’s he doing? (A gun shot is heard .) Oh my I don’t think I’ll say no. Then, come what may, we’ll have to try; God… But I’ve fallen in love, my dear, madly and Scene 5 And I’d say that, in a while, (She disappears behind the rocks. At the same time deeply! Our contraband’s sure to get by! No. 21 Aria Escamillo enters, holding his hat in his hand.) (cheerfully) And any man who’s worthy to be called a man Gipsies Micaëla Would risk his life to find the girl he loved so And I tell you that, in a while now, 17 Scene 6 I say that there’s nothing to fear, deeply! Our contraband’s sure to get by! I say, alas, that I’ll be quite all right; Escamillo (looking at his hat) But, brave and calm though I appear, Frasquita, Mercédès and Carmen A few inches lower, and no more bullfighting Don José Deep down I know I’ll die of fright! Forward march! Come on! Straight ahead! for me… So the girl that you love must be here. Here, in this desolate place, He’s a man, it should be easy! etc. All alone, I’m afraid, but wrong to be afraid! (Don José enters.) Escamillo Remendado, Dancaïre and Gipsies Oh God in Heaven, help me face it, Don José (carrying his coat) You’re quite right. Straight ahead! Protect me in my need, oh Lord! Who are you? And it’s a gipsy girl, my dear… He’s a man, it should be easy! etc. I shall meet that woman at last Whose wicked female wiles have drawn Escamillo (very calm) Don José (The gipsies exit followed by Don José who To a life of crime and of lust Hey, hey! Calm down! What is her name? examines his rifle.) The man whom I have loved so long! Escamillo No. 22 Duet Scene 4 A dangerous woman… and a beauty!… Carmen. (A guide advances cautiously, then gives a sign to But I don’t mean to be afraid! Escamillo Micaëla, still off-stage. Micaëla enters.) No, no, I don’t mean to be afraid!… 19 Escamillo is my name, and I come from Granada. Don José (aside) I’ll speak out for honour and duty… Ah! Carmen! Micaëla Protect me, Lord, I beg of you, Don José (replacing his dagger in his belt) 16 Is this the place? Yes, Lord, protect me in my need! Ah! Escamillo! Escamillo I say that there’s nothing to fear etc. Escamillo Carmen! Guide Yes, my dear. Yes. Not very inviting, is it? I beg of you, answer me! That’s right! God in Heav’n, help me face it! 20 She had a lover here, Don José Micaëla I beg of you, answer me! A soldier who deserted one fine day for her It’s a name that I know. I’m sure there’s nothing to fear. Protect me now, oh Lord! sake… You’re very welcome here. Guide Micaëla And listen… if you’d rather, Don José (aside) Will you be all right? I’ll go back to the inn. 18 It’s him! I’m sure it’s him over there! (calling) José! Do stay with us a while. Carmen!

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Escamillo (with a light touch of irony) (Keeping a certain distance, they prepare to fight Don José It was intense! The one who fled, the soldier who’s her lover, each other.) Kill me or you die! But now I hear it’s past: Or at least used to be, must be you? I know the way you fight in Navarra, You see, this is no game! After six months, Carmen’s affairs will never last. And I tell you now, as a friend, Don José Escamillo That it will not work. Don José Yes, I’m her lover! Fine! (Without answering, Don José moves towards the And you love her like that!… But let’s rest and then resume. Escamillo bullfighter.) Escamillo I’m glad to know, my dear! There you are: Don José I love her! I’m glad to know, my dear: what a charming You can’t say you haven’t been warned. Get ready! surprise! Don José Escamillo (Both men, dagger in hand, pull on their coats.) (Combat: the bullfighter, remaining very calm, And you love her like that!… seeks only to defend himself.) Get ready! Don José Escamillo Don José and Escamillo At last all my fury Don José I love her, yes, my dear, I love her, Here I come! Get ready, Can relieve its pains: You’re not fighting, you dog! I love her very deeply! Beware I say! For blood, yes, blood will end the story, The man who is steady Don José Pumping from his veins! Escamillo Shall win the day! But if you were to take a gipsy woman from us, At last all my fury etc. I’m far too strong to play these little games with There is a price that must be paid… Here I come! Get ready, you! (The fight resumes. The bullfighter slips and falls Beware, I say! to the ground. Carmen and Dancaïre rush in; Escamillo (cheerfully) Don José Fine! I can pay. The man who is steady Remendado and gipsies follow.) Shall win the day. We shall find out! Don José (ominously) Escamillo No. 23 Finale …A price that must be paid by means of a (A quick fight man to man. Don José finds himself That was rather churlish, dagger! at the mercy of the bullfighter who does not strike Carmen (restraining Don José’s arm) But it made me laugh: him.) 21 Holà! holà! José! Escamillo (surprised ) I came for the girl By means of a dagger! And I found her former love! Escamillo Escamillo (rising again; gallantly to Carmen) That was rather churlish etc. You see! Your life’s in my hands. Well! You’ve charmed me completely Don José Here I come! Get ready, (nobly) By stepping in, Carmen, to save my life so You understand? Beware, I say! But I cannot: sweetly! Escamillo (with irony) The man who is steady My role in life is to slaughter the bull, Carmen What you say is quite clear. Shall win the day! Not cut the heart of a man out. Escamillo!

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Escamillo (to Don José, pleasant but proud ) Don José (to Carmen, with suppressed menace) When she prays, alas, she cries: Frasquita, Mercédès, Remendado, Dancaïre and As for you, soldier boy, 22 You should take care, Carmen: Cries for you, her one and only, Gipsies (to Don José) It’s one game all between us, so we’ll play our Heaven knows what I’ll do! Cries for you, calling out your name. You will soon be lost for ever, decider (Carmen responds to Don José with a light shrug of Picture her, sad and lonely! José, unless you leave now. As soon as you would like to have another try. the shoulders and moves away from him.) José, ah! José, you must come home! While you’re bound as one together It is sure that you will die! Dancaïre (intervening) Dancaïre and Gipsies Carmen (to Don José, labouring) All right, all right! Get moving, get moving, it’s time to go! Go on, go on, give up the fight: Don José (to Micaëla) That’s enough fighting! For you this life was never right! Let me be! Remendado We must hurry away, Stop! There’s someone here who’s trying to hide! Don José (to Carmen) Micaëla (to Escamillo) Are you saying go with her? Alas! José! And so… and so, my friend, good night. (He brings forth Micaëla.) Don José (angrily seizing Carmen) Carmen Carmen Escamillo Yes, leave us while you can. I am sentenced to death! Before I go, I’d like to suggest, if I might, It’s a woman! That you all come to see the bullfight in Dancaïre Don José Frasquita, Mercédès, Remendado, Dancaïre and Seville; My God! You are saying go with her Gipsies I’m confident that I shall be seen at my best. That’s a pleasant surprise! So that you… you’re free then to run José! Be careful! (intently) Into your new lover’s arms! Don José If you love me, you’ll come! Don José (recognising Micaëla) No! No more games! Micaëla! Ah! You are mine: now it’s too late! (looking at Carmen) (resolutely) You are mine, and you’ll learn, daughter of hell, If you love me, you’ll come! Micaëla ( joyfully) Though I may be lost for ever, To accept the will of Fate: (to Don José who coldly makes a threatening Don José! No, Carmen, I cannot leave you now. My sentence is yours as well! gesture) We are bound as one together, Though I may be lost for ever, My friend, don’t take it ill! Don José Bound until the day we die!… No, no, no, I cannot leave you now! That is all,… Tell me why… Though I may be lost for ever, (looking at Carmen) Why have you come out here? No, no, no, I cannot leave you now! Frasquita, Mercédès, Remendado, Dancaïre and …Yes, that is all! Gipsies Then let me say farewell to you and all the rest. Micaëla Micaëla (to Don José) Ah! Be careful, be careful, Don José! Why? I’ve come here for you! I beg you, listen to me: (Don José is about to attack the bullfighter, but is Back home there lives another, Your mother needs you now. Micaëla (firmly) held back by Dancaïre and Remendado; Escamillo Better woman who prays; Nothing binds you, don’t you see? Then you must hear these words: exits with great calm.) And that woman, your mother, José, you must come away! (sadly)

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They’re the last I shall say. 24 Entr’acte Men Zuniga (to Don José) Programmes with the details inside! Hey there! 23 Alas! José, your mother is ill… Act IV Red wine! We need some fans! She is dying, Ice cream! A square in Seville. In the background, the walls of A Gipsy (to Zuniga who pushes him away) And longs to have the chance of forgiving her son. Some cigarettes! an ancient bullring. The entrance to the arena is Would you like binoculars too? closed by a long canopy. It is the day of a bullfight. Don José Merchants and Vendors The square is very busy. There are merchants selling Merchants and Vendors My mother! Dying you say! A few cuartos! A few cuartos! water, oranges, fans etc. A few cuartos! A few cuartos! Micaëla Just for a few cuartos, Just for a few cuartos, Yes, Don José! Señoras and Caballeros! Señoras and Caballeros! Scene 1 A few cuartos! A few cuartos! Don José Zuniga Curtain rises. Come on and buy! Come on! Ah, come on! We need oranges… (He takes a few steps, then stops in front of No. 24 Chorus Quickly! (Great cries are heard from off-stage. The procession Carmen.) is arriving.) As you wanted, I go… but… we shall meet Chorus of Merchants and Vendors Women (to Frasquita and Mercédès, eagerly) again! 25 A few cuartos! A few cuartos! Here you are! No. 25 March and Chorus Just help yourselves, dear Señoritas! (Don José follows Micaëla. Hearing the voice of (During the chorus, Zuniga and an officer appear Children (off-stage) Escamillo, he stops hesitatingly.) 26 with Mercédès and Frasquita.) An Orange Vendor (to Zuniga who pays her) Here they come! Here they come! Escamillo (off-stage) Here comes the procession! Women My thanks! Toreador, be ready! You’re very kind, Señor. Merchants and Vendors Toreador! Toreador! Think of the heat and buy a fan! Oranges for a thirsty man! Here they come! Yes, here they come! Dream of a single voice among the roars, Women (to Zuniga) Here comes the procession! Dream of two flashing eyes, Men These ones here are really much sweeter! Dream that her love is yours, Toreador! Programmes with the details inside! Think of the heat and buy a fan! Children and Crowd Her love is yours! Red wine! Oranges for a thirsty man! Here they come! Here comes the procession! (Don José halts in the background, among the Ice cream! Men Here they are, our brave Toreros! rocks; Carmen listens and leans against the rocks. Some cigarettes! Programmes with the details inside! See the sunlight glint on their weapons! The gipsies have taken up their bundles and are Women Red wine! Olé! Olé! Olé! heading off.) Think of the heat and buy a fan! Ice cream! The air’s filled with our sombreros! Curtain falls rapidly. Oranges for a thirsty man! Some cigarettes! Here they come!

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Here comes the procession! Children He’ll wield the sword and blood will flow; Frasquita Here they are, our brave Toreros! You see? He appears when the drama’s ending Carmen! take my advice… Here they are, here they are, here they are! Crowd And delivers the final blow! You’d better not stay here. (The procession passes by. The Alguazil enter.) It glitters as they move about. Our Escamillo! Our Escamillo! Ah! Bravo! They’re all here! Carmen Children Children and Crowd It’s here, the procession! And why not, may I ask? Now look who are taking their places! The Banderilleros get a cheer! They’re all here, our brave Toreros! Mercédès It’s the Alguazil right enough, See the sunlight glint on their weapons! (The Picadors enter.) He is here. It’s the Alguazil right enough, Olé! Olé! Olé! You know them by their ugly faces. Children The air’s filled with our sombreros! Carmen Get off! Get off! Get off! Get off! The others are coming along! They’re all here! It’s here, the procession! Who is? Crowd They’re all here, our brave Toreros! Crowd Mercédès Down with the Alguazil! Get off! And Escamillo! Ah! The others are coming along! Him! Don José! Children The Picadors are here! Escamillo Trying to hide in the crowd. Get off! Get off! Get off! Get off! Children 27 If you love me, Carmen, if you love me, Carmen, Just look… Crowd The Picadors are here! You might find very soon Yes! Get off! Get off! Get off! Get Off! That you’re proud I am yours. Carmen (The Chulos and Banderilleros enter.) Crowd and Children If you love me, if you love me. Yes, I can see him. Now let’s raise a cheer for the lads! They look so fine! Ah! They look so fine! Carmen Frasquita Yes, the Chulos are brave as well! Be careful! Bravo! Viva! You’re not a bad lot! They torment the bull in the ring Escamillo, I love you and may I be struck down Go on, Chulos, you give them hell! With their flashing blades later on! If I have ever known Carmen You see the Banderilleros there! They will torment the poor old bull Love as pow’rful as yours. I’m not the sort of woman who’s frightened of With all those blades much later on! Look how they strut about so proudly! Carmen and Escamillo him… You see? You see? Crowd Ah! I love you, yes, I love you! I shall stay; I must talk to him now. Children Th’ Espada! Th’ Espada! Cordeliers Mercédès You see? Children and Crowd Way there! Way there! Way for my lord Alcalde! Carmen, she’s right… Crowd Escamillo! Escamillo! Be careful! You see the costume that they wear to fight (Escamillo appears, with Carmen close by, radiant (The Alcalde appears in the background, Is covered with such fine embroid’ry. and dressed very well.) accompanied by the Alguazil, and approaches the Carmen You see? You see? Here’s the Espada, sharp and unbending, arena with the rest of the procession and the crowd.) I’m not afraid!

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Frasquita And Carmen has never lied: You plead it in vain… (Chorus and fanfares in the arena) Be careful! She cannot change her opinion. It has no effect, nothing will! It’s past and done: Crowd (in the arena) (The Alcalde, after a pause, enters the arena, and Don José (anxiously) 29 (Don José moves.) Viva! Viva! What a corrida! behind him the procession resumes its march.) So you don’t love me now? Our love is dead. Viva! Look, the bull is bleeding, (People disperse. As the crowd retreats, Carmen is (Carmen is silent.) No, never have I lied! But he’s sure to charge once again now! left to face Don José.) (desperately) It is done: our love is dead. You see? You see? You see? So you don’t love me now? You see how our hero torments him? Scene 2 Don José Carmen (simply) He can hardly move now, you see? Carmen, it cannot be over… No. 26 Duet and Final Chorus No, I don’t love you now. Very soon the creature will fall! No, it cannot be over… You see? You see? You see? Carmen Oh my Carmen, I come to Don José ( passionately) Victoria! 28 It’s you! Save your soul, your humble lover. But look, Carmen, I still adore you… (During the chorus, Carmen and Don José have Don José Yes! I have come to save your soul, Carmen, please help me, I implore you! And save my own as well. remained silent, both listening. On hearing the cry It’s me! Carmen of ‘Victory’, Carmen makes a gesture of pride and Carmen Carmen What is the point of this? joy. Don José never lets her out of his sight. The I have just been informed No! I know this is the moment, You are just wasting words! chorus ended, Carmen takes a step towards the That you are not far from here, that you would And I know you’ll murder me here, arena.) But, live or die, it doesn’t matter, Don José come to me; Carmen, I love you, I adore you! I have even been warned to fear for my safety; No, no, no, I shan’t give way to you prayers! Don José (stepping in front of Carmen) All right, if it will make you happy, Stay with me! But I am brave and I don’t run away. Don José I’ll be a bandit still… all that you want of me… Don José Carmen! It cannot be over, All, do you hear?… All! Carmen I shall not threaten you… No, it cannot be over… But don’t abandon me, oh my Carmen! Let me be! Oh my Carmen, I come to I beg you… I beseech you!… You can’t forget the past and that we loved each Don José Save your soul, your humble lover etc. Our former life, Carmen, other! That man is your new lover, (desperately) Our former life is behind us!… Carmen The one that they all cheer! Ah, don’t abandon me, Carmen, ah, don’t Yes, we’ll go hand in hand, But why can’t you see it’s over? abandon me! Carmen (wanting to pass) Go where no one else can find us, My heart is no longer yours, Let me be… Let me be… Start again in distant lands… No, my heart’s no longer yours. Carmen Carmen In vain you say: ‘I’m your lover!’ Carmen has never given way! Don José What you ask cannot be given! It has no effect, no, nothing will, Free she was born and free she will die! Never, never!

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I shall not let you go, Carmen: you have to come Carmen (angrily) Don José with me! All right! Put me under arrest… Stab me to death or get out of my way. (Escamillo appears on the steps of the arena; Don Bill Cooper Bill Carmen José throws himself on Carmen’s body.) Crowd (in the arena) Let me be, Don José!… I will not go with you! For I’m the one who killed her! Victoria! Don José Ah! Carmen! Ah, Carmen, my beloved! Don José (deeply distraught) You mean to go with him… so… Curtain (in a rage) For the very last time, devil, will you come with me? D’you love him, then? English translation: David Parry Carmen Carmen (in a rage) © 2003 Hinrichsen Edition, I love him! No, no! Peters Edition Ltd, London And though death stares me in the face, (pulling a ring off her finger and throwing it Reproduced by permission of the Publishers I will say again that I love him! away) Once you gave me this ring as a token of (Fanfares and repeat of chorus in the arena.) passion… (Carmen makes another attempt at entering the There! arena. Don José stops her again.) Don José Crowd (in the arena) All right! Viva! Viva! What a corrida! etc. Be damned… Don José (violently) (He rushes at Carmen. Carmen wants to escape, I see! I have learned to be evil but Don José reaches her by the arena. He strikes And perjured my soul so that you… her; she falls and dies. Don José, overcome, sinks to So that you can dally, you devil, his knees by her side.) There in his arms, laughing at me!… No, by my life, you shall not go, Crowd (in the arena) Carmen, you have to come with me! Toreador, be ready! Toreador! Toreador! Carmen Dream of a single voice among the roars, No, no, I shan’t! Dream of two flashing eyes, Patricia Bardon in the title role Don José Dream that her love is yours, Toreador! in Scottish Opera’s production I am tired of making threats! Her love is yours! of Carmen

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Opera in English on Chandos Opera in English on Chandos

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Opera in English on Chandos Chandos 24-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48dB greater and up to 256 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Artistic Consultant to the Peter Moores Foundation: Patric Schmid Staging director and repetiteur: Charles Kilpatrick Vocal and language consultant: Ludmilla Andrew Dialogue director: Daniel Slater Session photographs by Bill Cooper Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Matthew Walker Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Watford Colosseum; 27–30 August and 2 & 3 September 2002 Front cover Photograph of Patricia Bardon, in Scottish Opera’s production of Carmen, by Bill Cooper Back cover Photograph of David Parry by Bill Cooper Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen Copyright Peters Edition Ltd P 2003 Chandos Records Ltd C 2003 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU CHAN 3088 167 SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3091(2) DDD Printed in the EU CHAN 3091(2) 2003 Chandos Records Ltd TT 75:20 TT 79:59 c COMPACT DISC ONE COMPACT DISC TWO 2-disc set Geoffrey Mitchell Choir Mitchell Geoffrey Choir Children’s London New Orchestra Philharmonia Parry David tenor tenor tenor 2003 Chandos Records Ltd soprano soprano soprano baritone baritone p bass-baritone bass-baritone mezzo-soprano mezzo-soprano DIGITAL CHANDOS (1838–1875) , a smuggler Le Brocq ...... Mark

, a bullfighter ...... Garry Magee , a gipsy girl Harrison ...... Sally , a corporal Gavin ...... Julian , a gipsy girl ...... Mary Hegarty , a smuggler Wedd ...... Peter

, a gipsy girl Bardon ...... Patricia , a sergeant Stafford-Allen ...... Toby , a country girl ...... Mary Plazas , a lieutenant Garrett ...... Nicholas bit 24 Moralès McCaldin Vendor...... Clare An Orange A Gipsy Parfitt ...... Paul etc. Smugglers Gipsies, Girls, Cigarette Children, Soldiers, Officers, Dancaïre Remendado Zuniga Mercédès Georges Bizet Georges Carmen in four acts Opéra-Comique by novella based on the Halévy and Ludovic Meilhac Henri by Libretto Mérimée Prosper with English Langham Smith Richard by Edition Urtext New Ltd Edition Peters published by Parry, David translation by Carmen José Don Escamillo Micaëla Frasquita recorded in 96 kHz 96 CHANDOS RECORDS LTD Colchester . Essex . England

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