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CHAN 3091 Book Cover.qxd 11/4/07 3:42 pm Page 1 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) Carmen Opéra-Comique in four acts Libretto by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée New Urtext Edition by Richard Langham Smith with English translation by David Parry, published by Peters Edition Ltd Carmen, a gipsy girl .......................................................................Patricia Bardon mezzo-soprano 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 tenor Escamillo, a bullfighter.................................................................................Garry Magee baritone Dancaïre, a smuggler ...........................................................................................Peter Wedd tenor Remendado, a smuggler ................................................................................Mark Le Brocq tenor Zuniga, a lieutenant.........................................................................Nicholas Garrett bass-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 Choir New London Children’s Choir Georges Bizet Ronald Corp musical director Philharmonia Orchestra Stuart Stratford assistant conductor David Parry 3 CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 4 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 4 5 CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 6 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 aria) 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 6 7 CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 8 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 8 9 CHAN 3091 BOOK.qxd 24/4/07 2:02 pm Page 10 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 opera 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 ‘comic opera’ 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.
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    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni

    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
  • Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen

    Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen

    Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition.