Written by Anna Vorhes

Born
October 25, 1838, in Paris

Died
June 3, 1875, in Bougival, France

Instrumentation
two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and other percussion, harp, strings

Duration
11 minutes

Composed
started in 1873, finished in late 1874

World Premiere
March 3, 1875, at the Opéra-Comique

Something interesting to listen for
The melodies Bizet created for this opera have been used in so many contexts that they sound familiar to almost everyone.  The opera itself is probably the most popular opera in the world.  In addition, parts of it have been used in movies, in cartoons, in commercials and in television shows over they years.  Listen to these arias and enjoy them in their original form.  Then think about whether you have any other memories attached to the melodies Bizet created.

Program Notes

French historian Prosper Mérimée heard a legend of a Spanish gypsy.  His studies had led him from Paris to observe various cultural groups in Spain.  This particular legend attracted Mérimée's attention, so he made it the basis of a novella.  Georges Bizet ran across the novella, and knew it would make a good opera.  Unfortunately he created the opera for the Opera-Comique, an opera house favored by families that wanted comedy and clear and happy plots.  Opera attendees and critics alike were not delighted or even happy with the opera.  It played a run in Paris that was short by the standards of opera, and the reception devastated the composer.  Bizet died about three months after the premiere.  After another four months had passed, the opera was produced in Vienna.  Bizet had indicated spoken dialogue between the arias and other musical numbers.  The dialogue had been turned into recitative by the composer's friend and former student Ernest Guiraud.  The Viennese loved Carmen! Today it remains an audience favorite.

We will hear three arias from Carmen.  First is the Habanera, "L'amour est un oiseau rebelle", an aria from early in the show.  Carmen, a cigarette girl, prepares for her day's work at the nearby cigarette factory.  She sees handsome Don Jose and tries seducing him with this sultry dance.  The dance form was imported from Havana, Cuba, and there is some evidence that Bizet borrowed the melody and rhythmic structure from Stephen Yrader.  Whether it was borrowed or not, a musician asked to define the characteristics of habanera usually sings a bit of this work which showcases the rhythm and the melodic structure of the habanera.

The second dance is the Gypsy Dance, "Les tringles de sistres tintaient".  The lyrics refer to a belief current in the nineteenth century that gypsy culture originated in Egypt.  One of the instruments found in Egyptian tombs is called the sistra.  It is associated with the goddess Hathor, the goddess of music and joy.  It has a metal frame that has a series of rods or discs that create a shrill and loud sound when shaken.  Oddly, this sound is supposed to calm irate gods and goddesses.  The words to the aria begin with a description of the sound of the sistra.

The final aria performed tonight will be the Seguidilla "Près de remparts de Séville".  When she sings this aria, Carmen has been arrested for pulling a knife in her workplace.  Don Jose has been charged with taking her to the prison.  This aria is her attempt to convince Don Jose to allow her to escape.

These three arias provide a sultry vocal showcase.  They are certainly a part of why this opera is such a staple of the opera repertoire and so beloved by audiences.

Text of the Habanera:

Love is a rebellious bird
that no one can tame,
and it's quite useless to call him
if it suits him refuse.
Nothing moves him, neither threat nor plea,
one man speaks freely, the other keeps mum;
and it's the other one I prefer:
he's said nothing, but I like him.
Love! etc.

Text of the Gypsy Dance

The sistrums' rods were jingling
with a metallic clatter,
and at this strange music
the zingarellas leapt to their feet.
Tambourines were keeping time
and the frenzied guitars
ground away under persistent hands,
The same song, the same refrain.
Tralalalala...

Copper and silver rings
glittered on dusky skins;
Orange and red-striped
dresses floated in the wind.
Dance and song became one - 

at first timid and hesitant
then livelier and faster
it grew and grew!
Tralalalala...
The gypsy boys stormed away
on their instruments with all their might,
and this deafening uproar
bewitched the zingaras!
Beneath the rhythm of the song,
passionate, wild, fired with excitement,
they let themselves be carried away,
intoxicated, by the whirlwind!
Tralalalala...

Text of the Seguedilla

By the ramparts of Seville,
at my firnd Lillas Pastia's place,
I'm going to dance the seguidilla
and drink manzanilla.
I'm going to my friend Lillas Pastia's!
Yes, but all alone one gets bored,
and real pleasures are for two.
So, to keep me company,
I shall take my lover!
Mo lover...he's gone to the devil:
I showed him the door yesterday.
My poor heart, so consolable-
my heart is as free as air.

I have suitors by the dozen,
but they are not to my liking.
Here we are at the week-end;
Who wants to love me? I'll love him.
Who wants my heart? It's for the taking!
You've come at the right moment!
I have hardly time to wait,
for with my new lover...
By the ramparts of Seville, etc.