Carmen - Knowledge

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intervenes; the fate motif underlines her premonition of death. Micaëla's aria, after her entry in search of José, is a conventional piece, though of deep feeling, preceded and concluded by horn calls. The middle part of the act is occupied by Escamillo and José, now acknowledged as rivals for Carmen's favour. The music reflects their contrasting attitudes: Escamillo remains, says Newman, "invincibly polite and ironic", while José is sullen and aggressive. When Micaëla pleads with José to go with her to his mother, the harshness of Carmen's music reveals her most unsympathetic side. As José departs, vowing to return, the fate theme is heard briefly in the woodwind. The confident, off-stage sound of the departing Escamillo singing the toreador's refrain provides a distinct contrast to José's increasing desperation.

60: 1159:, was attended by many of Paris's leading musical figures, including Massenet, Offenbach, Delibes and Gounod; during the performance the last-named was overheard complaining bitterly that Bizet had stolen the music of Micaëla's act 3 aria from him: "That melody is mine!" Halévy recorded his impressions of the premiere in a letter to a friend; the first act was evidently well received, with applause for the main numbers and numerous curtain calls. The first part of act 2 also went well, but after the toreador's song there was, Halévy noted, "coldness". In act 3 only Micaëla's aria earned applause as the audience became increasingly disconcerted. The final act was "glacial from first to last", and Bizet was left "only with the consolations of a few friends". The critic 933:, over the advisability of staging the work. De Leuven had vociferously opposed the entire notion of presenting so risqué a story in what he considered a family theatre and was sure audiences would be frightened away. He was assured by Halévy that the story would be toned down, that Carmen's character would be softened, and offset by Micaëla, described by Halévy as "a very innocent, very chaste young girl". Furthermore, the gypsies would be presented as comic characters, and Carmen's death would be overshadowed at the end by "triumphal processions, ballets and joyous fanfares". De Leuven reluctantly agreed, but his continuing hostility towards the project led to his resignation from the theatre early in 1874. 1137: 863: 404: 2019: 967:, in January 1875; the conducting score used at the premiere differs from each of these documents. There is no definitive edition, and there are differences among musicologists about which version represents the composer's true intentions. Bizet also changed the libretto, reordering sequences and imposing his own verses where he felt the librettists had strayed too far from the character of Mérimée's original. Among other changes, he provided new words for Carmen's "Habanera", and rewrote the text of Carmen's solo in the act 3 card scene. He also provided a new opening line for the "Seguidilla" in act 1. 817:... La la la"), but her song is joined by a distant bugle call from the barracks. When José says he must return to duty, she mocks him, and he answers by showing her the flower that she threw to him in the square ("La fleur que tu m'avais jetée"). Unconvinced, Carmen demands he show his love by leaving with her. José refuses to desert, but as he prepares to depart, Zuniga enters looking for Carmen. He and José fight. Carmen summons her gypsy comrades, who restrain Zuniga. Having attacked a superior officer, José now has no choice but to join Carmen and the smugglers ("Suis-nous à travers la campagne"). 157: 956:, just outside Paris. He was pleased with the result, informing a friend: "I have written a work that is all clarity and vivacity, full of colour and melody." During the period of rehearsals, which began in October, Bizet repeatedly altered the music—sometimes at the request of the orchestra who found some of it impossible to perform, sometimes to meet the demands of individual singers, and otherwise in response to the demands of the theatre's management. The vocal score that Bizet published in March 1875 shows significant changes from the version of the score he sold the publishers, 763: 826: 1002:

Micaëla; in act 2 he evinces a greater toughness, the result of his experiences as a prisoner, but it is clear that by the end of the act his infatuation with Carmen has driven his emotions beyond control. Dean describes him in act 3 as a trapped animal who refuses to leave his cage even when the door is opened for him, ravaged by a mix of conscience, jealousy and despair. In the final act his music assumes a grimness and purposefulness that reflects his new fatalism: "He will make one more appeal; if Carmen refuses, he knows what to do."

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nearby, but Carmen is unafraid and willing to speak to him. Alone, she is confronted by the desperate José ("C'est toi!", "C'est moi!"). While he pleads vainly for her to return to him, cheers are heard from the arena. As José makes his last entreaty, Carmen contemptuously throws down the ring he gave her and attempts to enter the arena. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. José kneels and sings "Ah! Carmen! ma Carmen adorée!"; as the crowd exits the arena, José confesses to killing Carmen.

1938: 1717:. After the opening crowd scene, the bullfighters' march is led by the children's chorus; the crowd hails Escamillo before his short love scene with Carmen. The long finale, in which José makes his last pleas to Carmen and is decisively rejected, is punctuated at critical moments by enthusiastic off-stage shouts from the bullfighting arena. As José kills Carmen, the chorus sing the refrain of the Toreador Song off-stage; the fate motif, which has been suggestively present at various points during the act, is heard 1515:, "inadvertently preserves as definitive an early draft of the opera". In the early 21st century new editions were prepared by Robert Didion and Richard Langham-Smith, published by Schott and Peters respectively. Each departs significantly from Bizet's vocal score of March 1875, published during his lifetime after he had personally corrected the proofs; Dean believes this vocal score should be the basis of any standard edition. Lesley Wright, a contemporary Bizet scholar, remarks that, unlike his compatriots 854:

declares his infatuation with Carmen. The pair fight ("Je suis Escamillo, toréro de Grenade"), but are interrupted by the returning smugglers and girls ("Holà, holà José"). As Escamillo leaves he invites everyone to his next bullfight in Seville. Micaëla is discovered; at first, José will not leave with her despite Carmen's mockery, but he agrees to go when told that his mother is dying. He departs, vowing he will return. Escamillo is heard in the distance, singing the toreador's song.

1399: 5525: 5535: 937: 1564: 5561: 1300: 281: 1078:, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal. 912:, with dialogue separating musical numbers. It deviates from Mérimée's novella in a number of significant respects. In the original, events are spread over a much longer period of time, and much of the main story is narrated by José from his prison cell, as he awaits execution for Carmen's murder. Micaëla does not feature in Mérimée's version, and the Escamillo character is peripheral—a 1475:" from act 2, are among the most popular and best-known of all operatic arias, the latter "a splendid piece of swagger" according to Newman, "against which the voices and the eyebrows of purists have long been raised in vain". Most of the productions outside France followed the example created in Vienna and incorporated lavish ballet interludes and other spectacles, a practice which 5573: 1576:(1809–65). Bizet had taken this to be a genuine folk melody; when he learned its recent origin he added a note to the vocal score, crediting Yradier. He used a genuine folksong as the source of Carmen's defiant "Coupe-moi, brûle-moi" while other parts of the score, notably the "Seguidilla", utilise the rhythms and instrumentation associated with 395:", a work Mérimée had translated into French; it has also been suggested that the story was developed from an incident told to Mérimée by his friend the Countess Montijo. Bizet may first have encountered the story during his Rome sojourn of 1858–60, since his journals record Mérimée as one of the writers whose works he absorbed in those years. 1503:, are among the first known instances in which the dialogue version was used other than in France. Neither of these innovations led to much change in practice; a similar experiment was tried at Covent Garden in 1953 but hurriedly withdrawn, and the first American production with spoken dialogue, in Colorado in 1953, met with a similar fate. 1168:, Bizet retorted, in response to a compliment, "Don't you see that all these bourgeois have not understood a wretched word of the work I have written for them?" In a different vein, shortly after the work had concluded, Massenet sent Bizet a congratulatory note: "How happy you must be at this time—it's a great success!" 1195:... the ear grows weary of waiting for the cadence that never comes." It seemed that Bizet had generally failed to fulfill expectations, both of those who (given Halévy's and Meilhac's past associations) had expected something in the Offenbach mould, and of critics such as Adolphe Jullien who had anticipated a 1006:"She is redeemed from any suspicion of vulgarity by her qualities of courage and fatalism so vividly realised in the music". Curtiss suggests that Carmen's character, spiritually and musically, may be a realisation of the composer's own unconscious longing for a freedom denied to him by his stifling marriage. 1997:

in the title role, and a complete 1911 Opéra-Comique recording in French. Since then, many of the leading opera houses and artistes have recorded the work, in both studio and live performances. Over the years many versions have been commended and reissued. From the mid-1990s numerous video recordings

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featuring in an under-rehearsed production that removed some of the controversial aspects of the original. Carvalho was roundly condemned by the critics for offering a travesty of what had come to be regarded as a masterpiece of French opera; nevertheless, this version was acclaimed by the public and

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The general tone of the next day's press reviews ranged from disappointment to outrage. The more conservative critics complained about "Wagnerism" and the subordination of the voice to the noise of the orchestra. There was consternation that the heroine was an amoral seductress rather than a woman of

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Zuniga, Frasquita and Mercédès are among the crowd awaiting the arrival of the bullfighters ("Les voici! Voici la quadrille!"). Escamillo enters with Carmen, and they express their mutual love ("Si tu m'aimes, Carmen"). As Escamillo goes into the arena, Frasquita and Mercédès warn Carmen that José is

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Two months have passed. Carmen and her friends Frasquita and Mercédès are entertaining Zuniga and other officers ("Les tringles des sistres tintaient") in Pastia's inn. Carmen is delighted to learn of José's release from two months' detention. Outside, a chorus and procession announces the arrival of

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was always presented in the dialogue version with minimal musical embellishments. By 1888, the year of the 50th anniversary of Bizet's birth, the opera had been performed there 330 times; by 1938, his centenary year, the total of performances at the theatre had reached 2,271. However, outside France

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Because rehearsals did not start until October 1874 and lasted longer than anticipated, the premiere was delayed. The final rehearsals went well, and in a generally optimistic mood the first night was fixed for 3 March 1875, the day on which, coincidentally, Bizet's appointment as a Chevalier of the

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Micaëla enters with a guide, seeking José and determined to rescue him from Carmen ("Je dis que rien ne m'épouvante"). On hearing a gunshot she hides in fear; it is José, who has fired at an intruder who proves to be Escamillo. José's pleasure at meeting the bullfighter turns to anger when Escamillo

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has since been widely acclaimed for brilliance of melody, harmony, atmosphere, and orchestration, and for the skill with which the emotions and suffering of the characters are represented. At his death Bizet was still in the midst of revising his score and because of other later changes (notably the

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score. Newman describes it as "an exquisite miniature, with much dialoguing and intertwining between the woodwind instruments". As the action unfolds, the tension between Carmen and José is evident in the music. In the card scene, the lively duet for Frasquita and Mercédès turns ominous when Carmen

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solo which Dean suggests is the turning-point in his musical characterisation. The softer vein returns briefly, as Micaëla reappears and joins with José in a duet to a warm clarinet and strings accompaniment. The tranquillity is shattered by the women's noisy quarrel, Carmen's dramatic re-entry and

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tradition, Macdonald considers that it transcends the genre and that its immortality is assured by "the combination in abundance of striking melody, deft harmony and perfectly judged orchestration". Dean sees Bizet's principal achievement in the demonstration of the main actions of the opera in the

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Bizet was reportedly contemptuous of the music he wrote for Escamillo: "Well, they asked for ordure, and they've got it", he is said to have remarked about the toreador's song—but, as Dean comments, "the triteness lies in the character, not in the music". Micaëla's music has been criticised for its

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named Lucas who is only briefly Carmen's grand passion. Carmen has a husband called Garcia, whom José kills during a quarrel. In the novella, Carmen and José are presented much less sympathetically than they are in the opera; Bizet's biographer Mina Curtiss comments that Mérimée's Carmen, on stage,

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mood change when a brief phrase from the fate motif announces Carmen's entrance. After her provocative habanera, with its persistent insidious rhythm and changes of key, the fate motif sounds in full when Carmen throws her flower to José before departing. This action elicits from José a passionate

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strings, concludes the prelude with an abrupt crescendo. When the curtain rises a light and sunny atmosphere is soon established, and pervades the opening scenes. The mock solemnities of the changing of the guard, and the flirtatious exchanges between the townsfolk and the factory girls, precede a

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Dean has commented on the dramatic distortions that arise from the suppression of the dialogue; the effect, he says, is that the action moves forward "in a series of jerks, rather instead of by smooth transition", and that most of the minor characters are substantially diminished. Only late in the

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Carmen and José enter with the smugglers and their booty ("Écoute, écoute, compagnon"); Carmen has now become bored with José and tells him scornfully that he should go back to his mother. Frasquita and Mercédès amuse themselves by reading their fortunes from the cards; Carmen joins them and finds

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As the women go back to the factory, Micaëla returns and gives José a letter and a kiss from his mother ("Parle-moi de ma mère!"). He reads that his mother wants him to return home and marry Micaëla, who retreats in shy embarrassment on learning this. Just as José declares that he is ready to heed

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Dean writes that Bizet improved considerably on the original melody; he "transformed it from a drawing-room piece into a potent instrument of characterisation". Likewise, the melody from Manuel García used in the act 4 prelude has been developed from "a rambling recitation to a taut masterpiece".

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s Spanish premiere, in Barcelona, had been "another great success". But Carvalho, who had assumed the management of the Opéra-Comique, thought the work immoral and refused to reinstate it. Meilhac and Hálevy were more prepared to countenance a revival, provided that Galli-Marié had no part in it;

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Carmen herself, says Dean, is a new type of operatic heroine representing a new kind of love, not the innocent kind associated with the "spotless soprano" school, but something altogether more vital and dangerous. Her capriciousness, fearlessness and love of freedom are all musically represented:

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Dean considers that José is the central figure of the opera: "It is his fate rather than Carmen's that interests us." The music characterises his gradual decline, act by act, from honest soldier to deserter, vagabond and finally murderer. In act 1 he is a simple countryman aligned musically with

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When only Carmen, Frasquita and Mercédès remain, smugglers Dancaïre and Remendado arrive and reveal their plans to dispose of some recently acquired contraband ("Nous avons en tête une affaire"). Frasquita and Mercédès are keen to help them, but Carmen refuses, since she wishes to wait for José.

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in collaboration with the writer Jean-Claude Carrière and the composer Marius Constant. This 90-minute version focused on four main characters, eliminating choruses and the major arias were reworked for chamber orchestra. Brook first produced it in Paris, and it has since been performed in many

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was often performed to half-empty houses, even when the management gave away large numbers of tickets. Early on 3 June, the day after the opera's 33rd performance, Bizet died suddenly of heart disease, at the age of 36. It was his wedding anniversary. That night's performance was cancelled; the

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likens Carmen to "a female Don Giovanni. She would rather die than be false to herself." The dramatic personality of the character, and the range of moods she is required to express, call for exceptional acting and singing talents. This has deterred some of opera's most distinguished exponents;

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A group of soldiers relax in the square, waiting for the changing of the guard and commenting on the passers-by ("Sur la place, chacun passe"). Micaëla appears, seeking José. Moralès tells her that "José is not yet on duty" and invites her to wait with them. She declines, saying she will return

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tradition, although drawing them from proletarian life was unusual. The two principals, José and Carmen, lie outside the genre. While each is presented quite differently from Mérimée's portrayals of a murderous brigand and a treacherous, amoral schemer, even in their relatively sanitised forms

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Bizet was delighted with the Opéra-Comique commission, and expressed to his friend Edmund Galabert his satisfaction in "the absolute certainty of having found my path". The subject of the projected work was a matter of discussion between composer, librettists and the Opéra-Comique management;

791:, in which she sings of a night of dancing and passion with her lover—whoever that may be—in Lillas Pastia's tavern. Confused yet mesmerised, José agrees to free her hands; as she is led away she pushes her escort to the ground and runs off laughing. José is arrested for dereliction of duty. 1696:. José's insistence that, despite Carmen's blandishments, he must return to duty leads to a quarrel; the arrival of Zuniga, the consequent fight and José's unavoidable ensnarement into the lawless life culminates musically in the triumphant hymn to freedom that closes the act. 1661: 1466:

continued through succeeding generations of American opera-goers; by the beginning of 2011 the Met alone had performed it almost a thousand times. It enjoyed similar success in other American cities and in all parts of the world, in many different languages. Carmen's

925:, "some hitch at the Opéra-Comique intervened", and the project was suspended for a while. One reason for the delay may have been the difficulties in finding a singer for the title role. Another was a split that developed between the joint directors of the theatre, 908:. Bizet and the two librettists were all in Paris during 1873 and easily able to meet; thus there is little written record or correspondence relating to the beginning of the collaboration. The libretto was prepared in accordance with the conventions of 1311:. The latter reportedly saw the opera twenty times, and said he would have "gone to the ends of the earth to embrace Bizet". The Viennese triumph began the opera's rapid ascent towards worldwide fame. In February 1876 it began a run in Brussels at 158: 191:

in Paris on 3 March 1875, where its breaking of conventions shocked and scandalised its first audiences. Bizet died suddenly after the 33rd performance, unaware that the work would achieve international acclaim within the following ten years.

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provide prominent backing while the crowd sings along. The quintet that follows is described by Newman as "of incomparable verve and musical wit". José's appearance precipitates a long mutual wooing scene; Carmen sings, dances and plays the

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Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial.

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on the untameable nature of love ("L'amour est un oiseau rebelle"). The men plead with her to choose a lover, and after some teasing she throws a flower to Don José, who thus far has been ignoring her but is now annoyed by her insolence.

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With rehearsals due to begin in October 1873, Bizet began composing in or around January of that year, and by the summer had completed the music for the first act and perhaps sketched more. At that point, according to Bizet's biographer

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The character "Carmen" has been a regular subject of film treatment since the earliest days of cinema. The films were made in various languages and interpreted by several cultures, and have been created by prominent directors including

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of his principal works; should this transpire, she says, "we might expect yet another scholar to attempt to refine the details of this vibrant score which has so fascinated the public and performers for more than a century." Meanwhile,

2379:, changed the ending to take a stand against violence against women. Instead of being killed, Carmen kills Don José with a pistol she grabs from him. Many applauded the change, seeing it as way to break the tradition of representing 2402:

The form in which the motif appears in the prelude prefigures the dramatic act 4 climax to the opera. When the theme is used to represent Carmen, the orchestration is lighter, reflecting her "fickle, laughing, elusive character".

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back in November 1875, with the original cast, and it ran for a further 12 performances until 15 February 1876 to give a year's total for the original production of 48. Among those who attended one of these later performances was

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his mother's wishes, the women stream from the factory in great agitation. Zuniga, the officer of the guard, learns that Carmen has attacked a woman with a knife. When challenged, Carmen answers with mocking defiance ("Tra la la

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decided to use parts of the original dialogue along with some of Guiraud's recitatives; this hybrid and the full recitative version became the norms for productions of the opera outside France for most of the next century.

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initially gained its reputation through a series of productions outside France, and was not revived in Paris until 1883. Thereafter, it rapidly acquired popularity at home and abroad. Later commentators have asserted that

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music. However, Dean insists that "his is a French, not a Spanish opera"; the "foreign bodies", while they undoubtedly contribute to the unique atmosphere of the opera, form only a small ingredient of the complete music.

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Bizet, who had never visited Spain, sought out appropriate ethnic material to provide an authentic Spanish flavour to his music. Carmen's habanera is based on an idiomatic song, "El arreglito", by the Spanish composer

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Meilhac and Halévy were a long-standing duo with an established division of labour: Meilhac, who was completely unmusical, wrote the dialogue and Halévy the verses. There is no clear indication of when work began on

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s popularity endures; according to Macdonald: "The memorability of Bizet's tunes will keep the music of Carmen alive in perpetuity," and its status as a popular classic is unchallenged by any other French opera.

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wrote later that the sentimentalist Opéra-Comique audience was "shocked by the drastic realism of the action" and by the low standing and defective morality of most of the characters. According to the composer

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music, rather than in the dialogue, writing that "Few artists have expressed so vividly the torments inflicted by sexual passions and jealousy." Dean places Bizet's realism in a different category from the

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sang José at the Met for the first time; he continued to perform in this role until 1919, two years before his death. On 17 April 1906, on tour with the Met, he sang the role at the Grand Opera House in

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thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return.

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virtue; Galli-Marié's interpretation of the role was described by one critic as "the very incarnation of vice". Others compared the work unfavourably with the traditional Opéra-Comique repertoire of

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Despite its deviations from Bizet's original format, and some critical reservations, the 1875 Vienna production was a great success with the city's public. It also won praise from both Wagner and

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opened at the Opéra-Comique in May 1872. Although this failed and was withdrawn after 11 performances, it led to a further commission from the theatre, this time for a full-length opera for which

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that the cards are foretelling her death, and José's. The smugglers depart to transport their goods while the women distract the local customs officers. José is left behind on guard duty.

381:. Mérimée's story is a blend of travelogue and adventure yarn, possibly inspired by the writer's lengthy travels in Spain in 1830, and had originally been published in 1845 in the journal 3480: 1671:

Act 2 begins with a short prelude, based on a melody that José will sing offstage before his next entry. A festive scene in the inn precedes Escamillo's tumultuous entrance, in which

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shout, Carmen's escape is preceded by the brief but disconcerting reprise of a fragment from the habanera. Bizet revised this finale several times to increase its dramatic effect.

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was still complaining about the "strange idea" of adding a ballet, which he considered "a hideous blemish in that masterpiece", and he wondered why Bizet's wife had permitted it.

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with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery

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played to full houses. In October Carvalho yielded to pressure and revised the production; he brought back Galli-Marié, and restored the score and libretto to their 1875 forms.

1596: 1451:. Afterwards he sat up until 3 am reading the reviews in the early editions of the following day's papers. Two hours later he was awakened by the first violent shocks of the 4149: 3550: 1958: 3021: 2727: 3057: 2357:, as applied to 19th-century French opera, did not imply "comic opera" but rather the use of spoken dialogue in place of recitative, as a distinction from grand opera. 728:. The orchestral complement for the premiere run was 62 or 57 musicians in total (depending on whether the pit trumpet and trombone players doubled off-stage music). 1652: 774:

As the factory bell rings, the cigarette girls emerge and exchange banter with young men in the crowd ("La cloche a sonné"). Carmen enters and sings her provocative

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is a 1960 Hong Kong film which adapts the plot and main character to the setting of a Wanchai nightclub, including renditions of some of the most famous songs by

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In the following five years performances were given in numerous American and European cities. The opera found particular favour in Germany, where the Chancellor,

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Bizet had been informed of the impending award early in February, and had told Carvalho's wife that he owed the honour to her husband's promotion of his work.

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of Puccini and others; he likens the composer to Mozart and Verdi in his ability to engage his audiences with the emotions and sufferings of his characters.

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Chorus: Soldiers, young men, cigarette factory girls, Escamillo's supporters, Gypsies, merchants and orange sellers, police, bullfighters, people, urchins.

3895: 2108: 1684:; a distant cornet-call summoning José to duty is blended with Carmen's melody so as to be barely discernible. A muted reference to the fate motif on an 4181: 809:" ("Votre toast, je peux vous le rendre") and sets his sights on Carmen, who brushes him aside. Lillas Pastia hustles the crowds and the soldiers away. 2022: 787:... Coupe-moi, brûle-moi"); Zuniga orders José to tie her hands while he prepares the prison warrant. Left alone with José, Carmen beguiles him with a 2606: 3373: 4386: 1105:, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's 2344:

article on "Carmen", lists Escamillo as a bass-baritone. This article uses the latter, as it more directly identifies Escamillo's voice type.

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in place of the original dialogue) there is still no definitive edition of the opera. The opera has been recorded many times since the first

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20th century did dialogue versions become common in opera houses outside France, but there is still no universally recognised full score.

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In her act 1 defiance of Zuniga, Carmen sings the words "Coupe-moi, brûle-moi", which are taken from Mérimée's translation from Pushkin.

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tragic circumstances brought a temporary increase in public interest during the brief period before the season ended. Du Locle brought

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early in 1874. He completed the draft of the composition—1,200 pages of music—in the summer, which he spent at the artists' colony at

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Cast details are as provided by Curtiss from the original piano and vocal score. The stage designs are credited to Charles Ponchard.

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is one of the few works from that large repertory to have stood the test of time. While he places the opera firmly within the long

371:, on behalf of the theatre, made several suggestions that were politely rejected. It was Bizet who first proposed an adaptation of 5279: 1070:'s operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to 308:—followed conservative repertoires that restricted opportunities for young native talent. Bizet's professional relationship with 59: 225:

Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous

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that, in two slightly differing forms, represents both Carmen herself and the fate she personifies. This motif, played on

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later. José arrives with the new guard, which is greeted and imitated by a crowd of urchins ("Avec la garde montante").

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After the smugglers leave, José arrives. Carmen treats him to a private exotic dance ("Je vais danser en votre honneur

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The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the

5063: 4135: 1250:... one of those rare creations which expresses the efforts of a whole musical epoch." After the final performance, 754:

A square, in Seville. On the right, a door to the tobacco factory. At the back, a bridge. On the left, a guardhouse.

5633: 4737: 1336: 1876:

Finale: Holà holà José! (Carmen, Escamillo, Micaëla, Frasquita, Mercédès, le Dancaire, José, le Remendado, chorus)

1207:, he applauded Bizet for presenting a drama with real men and women instead of the usual Opéra-Comique "puppets". 5623: 5608: 5023: 4973: 3053: 3017: 2142: 917:

would have seemed "an unmitigated and unconvincing monster, had her character not been simplified and deepened".

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Vivat! Vivat le torero! (Chorus of Escamillo's followers, Zuniga, Mercédès, Frasquita, Moralès, Lillas Pastia)

269: 5510: 4897: 1861:Écoute, compagnon, écoute (Chorus of smugglers, Mercédès, Frasquita, Carmen, José, le Dancaire, le Remendado) 1452: 1016: 709: 300:

laureate, Bizet struggled to get his stage works performed. The capital's two main state-funded opera houses—

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her defiant interaction with Zuniga. After her beguiling "Seguidilla" provokes José to an exasperated high

1838:

Finale: Holà! Carmen! Holà! (Zuniga, José, Carmen, le Dancaire, le Remendado, Mercédès, Frasquita, chorus)

1370:, where Galli-Marié returned to the role. In August 1881 the singer wrote to Bizet's widow to report that 1177: 5272: 4694:(Vocal score, with words provided in English and French, based on the 1875 arrangement of Ernest Guiraud) 4672: 3316: 2003: 1966: 1456: 205: 5638: 1327:

began her long association with the part of Carmen. A parallel London production at Covent Garden, with

1136: 1045:"Gounodesque" elements, although Dean maintains that her music has greater vitality than that of any of 5551: 5133: 5123: 1867:

Quant au douanier, c'est notre affaire (Frasquita, Mercédès, Carmen, le Dancaire, le Remendado, chorus)

1119:, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's 1075: 1062:

The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured

451: 407: 403: 5469: 4342: 1700: 1279: 5461: 4857: 4829: 2376: 2045: 1120: 17: 5344: 4640: 4106: 1718: 862: 318: 5053: 4889: 4866: 1821:

Quintette: Nous avons en tête une affaire! (Le Dancaire, le Remendado, Carmen, Frasquita, Mercédès)

1524: 1320: 1235: 805:

the toreador Escamillo ("Vivat, vivat le Toréro"). Invited inside, he introduces himself with the "

1710: 5399: 5364: 3863: 2245: 1492: 1112: 324: 233:

After the premiere, most reviews were critical, and the French public was generally indifferent.

31: 1904:... Si tu m'aimes, Carmen (Chorus of citizens, children, Escamillo, Carmen, Frasquita, Mercédès) 1200: 962: 335:

of 1870–71, Bizet found wider opportunities for the performance of his works; his one-act opera

5528: 5265: 4697: 3481:"Italy gives world-famous opera Carmen a defiant new ending in stand against violence to women" 2054:'s 1920 piece, Piano Sonatina No. 6 (Fantasia da camera super Carmen), is based on themes from 2018: 1775:

Que se passe-t-il là-bas? Au secours! Au secours! (Chorus of cigarette girls, soldiers, Zuniga)

1479:

abandoned in Vienna when he revived the work there in 1900. In 1919, Bizet's aged contemporary

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recording in 1908, and the story has been the subject of many screen and stage adaptations.

5598: 5312: 5211: 5113: 5043: 5003: 4799: 4730: 4266: 3093: 3089: 2250: 2241: 2169: 2113: 1516: 1500: 1124: 1066:, who was perhaps the librettists' preferred choice. She had sung leading roles in many of 372: 313: 184: 109: 5493: 3856:

Boris Schwarz; Robin Stowell (2001). "Sarasate (y Navascuéz), Pablo (Martín Melitón) de".

3568: 3075: 3039: 2745: 2703: 2626: 2579: 2276: 1573: 1405:

at the New York Met in 1915; a publicity photograph that shows the three principal stars:

658: 196:

has since become one of the most popular and frequently performed operas in the classical

8: 5033: 4993: 4521: 4495: 4293: 3485: 2182: 2164: 2027: 1990: 1351: 1007: 767: 332: 5357: 1291:

s second act. Shortly before the initial Vienna performance, the Court Opera's director

5430: 5320: 5163: 5093: 5083: 5073: 5013: 4983: 4963: 4953: 4849: 4271: 4176: 4144: 4057: 2879: 2611: 2332: 2211: 2195: 2007: 2006:

production of 2002, and the Royal Opera productions of 2007 and 2010, each designed by

1926: 1496: 1430: 1425: 1267: 392: 351: 349:

would provide the libretto. Halévy, who had written the text for Bizet's student opera

4084: 3790: 2652:. Critical Edition edited by Robert Didion. Ernst Eulenberg Ltd, 1992, 2003, p. XVIII. 2255: 2219: 1438:'s interpretation of the title role unfavourably with that of Minnie Hauk. Thereafter 1303:

Many distinguished artistes sang the role of Carmen in early productions of the opera.

825: 523: 5184: 4685: 4620: 4597: 4577: 4569: 4555: 4536: 4509: 4483: 4461: 4439: 4415: 4391: 4368: 4348: 4327: 4226: 4209: 4036: 4018: 3964: 3875: 3836: 3801: 3781: 2870: 2286: 2059: 2041: 1347: 1239: 1116: 1094: 1067: 930: 837: 518: 505: 388: 368: 360: 3921: 941: 346: 176: 76: 5153: 4768: 4653: 4589: 3867: 3811: 2137: 2084: 2070: 2051: 1824:

Halte-là! Qui va là? (José, Carmen, Mercédès, Frasquita, le Dancaire, le Remendado)

1759: 1730: 1672: 1406: 1340: 1292: 1156: 1152: 926: 571: 433: 377: 180: 103: 4715: 4405: 3699: 1544: 309: 305: 217: 188: 130: 5618: 5593: 5406: 5336: 5202: 4874: 4723: 4048: 3993: 2203: 1993:

of excerpts in the 1890s, a nearly complete performance in German from 1908 with

1763: 1468: 1308: 1219: 1165: 1142: 1034: 995: 775: 603: 201: 151: 5234: 4819: 2262:

was interpreted in modern ballet by the South African dancer and choreographer

2207: 2177: 2159: 2088: 1520: 1414: 1335:. On 23 October 1878 the opera received its American premiere, at the New York 1271: 1215: 1196: 1086: 1046: 1030: 833: 697: 265: 5352: 4526: 3098:. Vol. I. Chicago, New York and San Francisco: Belford, Clarke & Co. 2198:

with two levels of story telling), Peter Brook (1983) (filming his compressed

1386: 1093:. He would later become a baritone, and in 1887 sang the role of Zurga in the 1090: 1082: 1041:'s Lulu "may be seen as distant degenerate descendants of Bizet's temptress". 1015:, though she recorded the part, never performed it on stage. The musicologist 469: 5587: 5413: 5288: 5103: 4881: 4746: 4668: 4487: 4475: 4429: 4381: 4372: 4352: 4163: 4131: 3321:, 9 January 1884, Met Performance CID: 1590, performance details and reviews" 2327: 2233: 2229: 2224: 2215: 2155: 2147: 1999: 1815: 1612: 1608: 1512: 1476: 1448: 1443: 1410: 1328: 1160: 1107: 1102: 1063: 806: 587: 487: 482: 446: 342: 222: 209: 197: 172: 164: 81: 51: 2271: 1442:

was quickly incorporated into the Met's regular repertory. In February 1906

1378:

they blamed her interpretation for the relative failure of the opening run.

5577: 5565: 5328: 4789: 4505: 3754: 2191: 2173: 1994: 1769:

Carmen! Sur tes pas nous pressons! (Chorus of citizens and cigarette girls)

1173: 1085:, a rising star of the Opéra-Comique who had recently appeared in works by 1020: 1012: 295: 4689: 4581: 4513: 2340:", Escamillo is included in various lists of baritone roles, however, the 1897:

A deux cuartos! (Chorus of citizens, Zuniga, Moralès, Frasquita, Mercédès)

1778:

Tra-la-la ... Coupe-moi, brûle-moi (Carmen, Zuniga, cigarette girls, José)

1455:, after which he and his fellow performers made a hurried escape from the 1214:

provoked little public enthusiasm; it shared the theatre for a while with

5193: 4681: 4453: 4360: 2290: 2263: 2237: 2187: 2129: 2095: 1685: 1508: 1472: 1324: 1275: 922: 681: 669: 301: 4501:

The Case of Wagner (Vol. 8 in The Complete Works of Friedrich Nietzsche)

4220: 4202: 4029: 4011: 3896:"Busoni: Sonatina No. 6 (Chamber Fantasy on Themes from Bizet's Carmen)" 2383:

in opera while so many women continue to suffer from violence and abuse.

1491:

the practice of using recitatives remained the norm for many years; the

1398: 5226: 3998: 2151: 2133: 1978: 1781: 1312: 1071: 1038: 788: 713: 705: 425: 261: 2883: 1709:

The final act is prefaced with a lively orchestral piece derived from

896:

Ludovic Halévy and Henri Meilhac, who together wrote the libretto for

874:

A square in Seville. At the back, the walls of an ancient amphitheatre

359:; he and Meilhac had a solid reputation as the librettists of many of 4613:"Introduction: Looking at the Sources and Editions of Bizet's Carmen" 4297: 2294: 1688:

leads to José's "Flower Song", a flowing continuous melody that ends

1681: 1359: 1262:

Shortly before his death Bizet signed a contract for a production of

725: 721: 280: 4380:

Dean, Winton (1980). "Bizet, Georges (Alexandre César Léopold)". In

2222:, is generally faithful to the original story and to Bizet's music. 1270:. For this version, first staged on 23 October 1875, Bizet's friend 1033:'s heroines. Macdonald suggests that outside the French repertoire, 892: 5372: 2380: 2337: 2240:, was inspired by Witt's gold medal-winning performance during the 1616: 1577: 953: 689: 673: 536: 337: 168: 2258:, is a more recent attempt to create an African-American version. 1563: 1358:

was also acclaimed in numerous French provincial cities including

316:

company, enabled him to bring to the stage two full-scale operas,

2864:

Nowinski, Judith (May 1970). "Sense and Sound in Georges Bizet's

1756:

La cloche a sonné (Chorus of citizens, soldiers, cigarette girls)

1637: 1632: 1620: 1299: 990: 913: 738: 701: 685: 677: 661: 555: 500: 248: 5257: 4659:

Full orchestral score, Peters 1920 (republished by Kalmus, 1987)

2605:

Jander, Owen; Sawkins, Lionel; Steane, J.B.; Forbes, Elizabeth.

2050:

for violin, described as "ingenious and technically difficult".

1809:

Les tringles des sistres tintaient (Carmen, Mercédès, Frasquita)

1750:

Sur la place chacun passe (Chorus of soldiers, Moralès, Micaëla)

948:

After the various delays, Bizet appears to have resumed work on

936: 2269:

The opera has been adapted at least twice in African films, as

1624: 1367: 1332: 717: 226: 5534: 2069:" (1926) throughout his career. In 1967, the Russian composer 1989:

has been the subject of many recordings, beginning with early

1729:

Numbers are from the vocal score (English version) printed by

1354:

opined that he "became a better man when Bizet speaks to me".

1274:

replaced the original dialogue with recitatives, to create a "

3996:, Naples, Florida; Opera Naples, Arts Naples World Festival; 1628: 1155:

was formally announced. The premiere, which was conducted by

464: 212:" from act 2 are among the best known of all operatic arias. 47: 5560: 1547:, in his survey of 19th-century French opera, contends that 5244: 4709: 4504:. Translated by Anthony M. Ludovici. London and Edinburgh: 3499:"Plot twist: opera Carmen altered in anti-violence protest" 1434:

welcomed Bizet's "pretty and effective work", but compared

1363: 1199:

music drama. Among the few supportive critics was the poet

693: 665: 3855: 2661:

de Solliers, Jean. Commentaire litteraire et musical. In:

3967:(April 1969). "Bizet (arr. Shchedrin). Carmen – Ballet". 1699:

The prelude to act 3 was originally intended for Bizet's

1278:" format. Guiraud also reorchestrated music from Bizet's 4240:"Dada Masilo: South African dancer who breaks the rules" 1350:, apparently saw it on 27 different occasions and where 994:

style that would find fuller expression in the works of

1873:

Je suis Escamillo, torero de Grenade! (Escamillo, José)

1907:

Finale: C'est toi! – C'est moi! (Carmen, José, chorus)

1870:

C'est les contrabandiers le refuge ordinaire (Micaëla)

5549: 3779: 2604: 30:

This article is about the opera. For other uses, see

3180: 3178: 766:

Lithograph of act 1 in the premiere performance, by

252:

that characterised late 19th-century Italian opera.

4745: 1029:as Carmen", though she may have influenced some of 1019:observes that "French opera never produced another 4525: 4411:The Keys to French Opera in the Nineteenth Century 3941: 3789: 1753:Avec la garde montante (Chorus of urchins, Zuniga) 1733:, New York, 1958 from Guiraud's 1875 arrangement. 163:) is an opera in four acts by the French composer 3175: 2176:, an adaptation of the opera transposed to 1940s 2098:produced an adaptation of Bizet's opera known as 328:(1867), but neither enjoyed much public success. 5585: 1864:Mêlons! – Coupons! (Frasquita, Mercédès, Carmen) 1081:The leading tenor part of Don José was given to 4387:The New Grove Dictionary of Music and Musicians 3726:"Recordings of Carmen by Georges Bizet on file" 3551:"Iradier (Yradier) (y Salaverri), Sebastián de" 2665:. Paris, Editions Premières Loges, 1993, p. 23. 2168:, with an all-black cast, is based on the 1943 3922:Vladimir Horowitz: Variations on a Theme from 1787:Finale: Voici l'ordre; partez (Zuniga, Carmen) 1486:At the Opéra-Comique, after its 1883 revival, 331:When artistic life in Paris resumed after the 5273: 4731: 4438:. Cambridge, UK: Cambridge University Press. 4087:. Melbourne International Film Festival. 2006 3501:, 11 January 2018, CBC News, Associated Press 1784:: Près des remparts de Séville (Carmen, José) 5669:Libretti by Henri Meilhac and Ludovic Halévy 4414:. Berkeley: University of California Press. 2040:In 1883, the Spanish violinist and composer 1428:performance, to a mixed critical reception. 293: 3831:. Teddington: Haymarket Consumer. pp. 3792:The Penguin Guide to Opera on Compact Discs 1246:is a masterpiece in every sense of the word 1131: 292:In the Paris of the 1860s, despite being a 5614:Opera world premieres at the Opéra-Comique 5280: 5266: 4738: 4724: 4294:"55. Internationale Filmfestspiele Berlin" 3963: 3749: 3747: 2686:"Bizet, Georges (Alexandre-César-Léopold)" 2495: 2493: 1835:... Non! Tu ne m'aimes pas! (Carmen, José) 242:forms the bridge between the tradition of 58: 4647:International Music Score Library Project 4552:The Life and Times of the Great Composers 4324:A Season of Opera on DVD:, Part 4: Carmen 4126: 4124: 4053:"Up-dated Translation of Bizet Work Bows" 3977: 3718: 3458: 3456: 2805: 2663:Carmen, Bizet. L'Avant Scène Opéra, no 26 2642: 1339:, and in the same year was introduced to 1210:In its initial run at the Opéra-Comique, 387:. It may have been influenced in part by 5664:Operas based on works by Prosper Mérimée 4482:. Vol. 1. New York: Vintage Books. 4047: 3939: 3601: 3599: 3589: 3587: 3088: 2863: 2803: 2801: 2799: 2797: 2795: 2793: 2791: 2789: 2787: 2785: 2017: 1562: 1397: 1298: 1254:was not seen in Paris again until 1883. 1135: 935: 891: 861: 824: 761: 402: 279: 4460:(English ed.). Cologne: Könemann. 3872:10.1093/gmo/9781561592630.article.24582 3824: 3744: 3649: 3647: 3535: 3533: 3531: 3529: 3527: 3525: 3419: 3417: 3415: 3413: 3359: 3357: 3279: 3277: 3249: 3247: 3228: 3226: 3150: 3148: 3129: 3127: 2922: 2920: 2918: 2916: 2914: 2766: 2764: 2591: 2589: 2555: 2553: 2551: 2549: 2490: 1381:In April 1883 Carvalho finally revived 187:. The opera was first performed by the 14: 5586: 4264: 4121: 3700:"Carmen: The First Complete Recording" 3453: 3380:from the original on 23 September 2016 3311: 3309: 3307: 3102:from the original on 20 December 2014. 2850: 2848: 2846: 2844: 2842: 2679: 2677: 2675: 2673: 2671: 2456: 2454: 1057: 1052: 355:(1856), was a cousin of Bizet's wife, 5261: 4719: 4162: 4152:from the original on 1 December 2016. 4130: 3902:from the original on 21 December 2014 3828:The Classical Good CD & DVD Guide 3706:from the original on 15 February 2013 3596: 3584: 2782: 2683: 2650:Carmen. Opéra comique en quatre actes 2559: 1998:have become available. These include 1948:Orchestral arrangement of music from 1471:from act 1, and the toreador's song " 700:. The percussion section consists of 215:The opera is written in the genre of 150: 4656:1877 (republished by Könemann, 1994) 4265:Harvey, Dennis (27 September 2001). 4246:from the original on 7 November 2017 4002:, 1 May 2015; accessed 13 April 2019 3644: 3522: 3410: 3354: 3274: 3244: 3223: 3145: 3136: 3124: 2929: 2911: 2893: 2761: 2586: 2546: 2507:from the original on 19 October 2012 1772:Parle-moi de ma mère (José, Micaëla) 1736: 1393: 1284:to provide a spectacular ballet for 984:neither corresponds to the norms of 5604:Cultural depictions of bullfighters 4535:. London: Futura Publications Ltd. 4458:Opera: Composers, Works, Performers 3943:"Shchedrin, Rodion Konstantinovich" 3304: 2839: 2725: 2668: 2655: 2501:"Prosper Mérimée's Novella, Carmen" 2451: 970: 24: 4528:The Lives of the Great Composers: 4390:. Vol. 2. London: Macmillan. 4237: 3940:Walker, Jonathan; Latham, Alison. 3796:. London: Penguin Books. pp. 3052: 3016: 2194:(1983) (who made a flamenco-based 1936: 1724: 1567:Carmen sings the "Habanera", act 1 887: 653:The orchestration consists of two 648: 25: 5680: 5287: 4634: 4367:. London: J. M. Dent & Sons. 4184:from the original on 23 June 2016 4107:"TIFF 2005: Days Seven and Eight" 3761:from the original on 5 March 2012 3732:from the original on 8 April 2012 3092:(1888). "XI. Marguerite Chapuy". 1831:... La fleur que tu m'avais jetée 1257: 416:Roles, voice types, premiere cast 5571: 5559: 5533: 5524: 5523: 4594:A Crack in the Edge of the World 4365:Georges Bizet: His Life and Work 4347:. London: Secker & Warburg. 4322:Azaola, Juan Ramon, ed. (2003). 4286: 4258: 4231: 4214: 4196: 4156: 4099: 4077: 4065:from the original on 15 May 2012 4041: 4023: 4005: 3957: 3933: 3914: 3888: 3849: 3818: 3773: 3755:"Bizet: Carmen – All recordings" 3692: 3683: 3674: 3665: 3656: 3548: 2330:" is somewhat ambiguous. In the 1977:Problems playing this file? See 1955: 1657: 1593: 1523:, Bizet has not been accorded a 5654:Works based on Carmen (novella) 4712:(archive from 27 February 2017) 3635: 3626: 3617: 3608: 3575: 3542: 3513: 3504: 3492: 3474: 3465: 3444: 3435: 3426: 3401: 3392: 3366: 3345: 3336: 3295: 3286: 3265: 3256: 3235: 3214: 3205: 3196: 3187: 3166: 3157: 3115: 3106: 3082: 3058:"Bouhy, Jacques(-Joseph-André)" 3046: 3010: 3001: 2992: 2983: 2974: 2965: 2956: 2947: 2938: 2902: 2857: 2830: 2821: 2812: 2773: 2752: 2719: 2710: 2633: 2598: 2537: 2528: 2519: 2396: 2386: 2369: 2360: 2347: 2320: 2311: 1827:Je vais danser en votre honneur 1495:'s 1947 London production, and 1238:, who wrote to his benefactor, 284:Prosper Mérimée, whose novella 5064:Carmen, la que contaba 16 años 2481: 2472: 2463: 2442: 2433: 2424: 2415: 2013: 1499:'s 1949 staging at the Berlin 741:, Spain, and surrounding hills 13: 1: 5511:Carmen Suites (Bizet/Guiraud) 5360:, completed by Bizet c. 1865) 4619:. New York: Pendragon Press. 3953:Retrieved 13 August 2024. 3022:"Lhérie [Lévy], Paul" 2503:. Columbia University. 2003. 2300: 1920: 1900:Les voici, voici la quadrille 1764:L'amour est un oiseau rebelle 1453:1906 San Francisco earthquake 1424:was given its first New York 940:Georges Bizet, photograph by 312:, manager of the independent 275: 64:Poster from the 1875 première 3825:Roberts, David, ed. (2005). 3569:UK public library membership 3076:UK public library membership 3040:UK public library membership 2746:UK public library membership 2704:UK public library membership 2627:UK public library membership 2580:UK public library membership 2409: 988:. They are more akin to the 845:A wild spot in the mountains 7: 5316:(1852 or 1855; unperformed) 4617:Carmen: A Performance Guide 2289:in 2005, and achieving the 2094:In 1983 the stage director 2064:Variations on a Theme from 1967:New York Symphony Orchestra 1385:at the Opéra-Comique, with 1319:was produced in London, at 882: 731: 430:Premiere cast, 3 March 1875 27:1875 opera by Georges Bizet 10: 5685: 4662:Vocal score, Choudens 1875 4615:. In Dibbern, Mary (ed.). 4611:Wright, Lesley A. (2000). 4315: 2375:A 2018 performance at the 2190:. Other adaptions include 1924: 975:Most of the characters in 29: 5629:Operas adapted into films 5519: 5503: 5480: 5441: 5423: 5391: 5304: 5295: 5175: 4914: 4890:Carmen: Duets & Arias 4858:Carmen Fantasy (Sarasate) 4841: 4780: 4759: 4596:. London: Penguin Books. 3549:Carr, Bruce; et al. 2377:Teatro Comunale, Florence 2077:music into a ballet, the 1766:(Carmen, chorus as above) 1191:s music "dull and obscure 1121:Theatre Royal, Drury Lane 634: 623: 609: 593: 577: 561: 545: 529: 511: 493: 475: 457: 439: 429: 424: 421: 294: 288:(1845) inspired the opera 181:novella of the same title 115: 98: 90: 69: 57: 46: 41: 5473:(incidental music, 1872) 5054:Man, Pride and Vengeance 4867:Carmen Fantasie (Waxman) 3489:, London, 2 January 2018 2305: 2174:musical of the same name 2091:'s principal ballerina. 1895: 1859: 1807: 1539: 1132:Premiere and initial run 857: 820: 794: 748: 398: 5634:Operas by Georges Bizet 5400:Au fond du temple saint 5365:La jolie fille de Perth 4701:(in French and English) 4652:Full orchestral score, 4550:Steen, Michael (2003). 3864:Oxford University Press 3351:Winchester, pp. 221–223 3342:Winchester, pp. 206–209 2889:(subscription required) 2083:, written for his wife 1991:wax cylinder recordings 1493:Carl Rosa Opera Company 325:La jolie fille de Perth 32:Carmen (disambiguation) 5624:Operas based on novels 5609:French-language operas 5345:Les pêcheurs de perles 4554:. London: Icon Books. 4341:Curtiss, Mina (1959). 3539:Dean 1965, pp. 228–232 3423:Dean 1965, pp. 218–221 3301:Dean 1965, pp. 130–131 3133:Dean 1965, pp. 114–115 3112:Dean 1965, pp. 111–112 2935:Dean 1965, pp. 224–225 2926:Dean 1965, pp. 221–224 2899:Dean 1965, pp. 214–217 2827:Dean 1965, pp. 108–109 2809:Dean 1980, pp. 759–761 2726:Bartlet, Elizabeth C. 2595:Dean 1965, pp. 112–113 2180:extending to Chicago. 2058:. The Russian pianist 2037: 1941: 1568: 1417: 1304: 1147: 1099:Les pêcheurs de perles 945: 900: 870: 841: 771: 514:Lieutenant of Dragoons 411: 319:Les pêcheurs de perles 289: 208:" from act 1 and the " 120:3 March 1875 5644:Operas set in Seville 5220:Battle of the Carmens 5144:U-Carmen eKhayelitsha 4944:A Burlesque on Carmen 4435:Georges Bizet: Carmen 4326:. Madrid: Del Prado. 4134:(20 September 1984). 4085:"The Wild, Wild Rose" 3986:La Tragédie de Carmen 3920:Robert Cummings. 3462:Wright, pp. xviii–xxi 2282:U-Carmen eKhayelitsha 2200:La Tragédie de Carmen 2100:La Tragedie de Carmen 2073:adapted parts of the 2021: 1940: 1884:Entr'acte (orchestra) 1846:Entr'acte (orchestra) 1794:Entr'acte (orchestra) 1566: 1401: 1321:Her Majesty's Theatre 1302: 1218:'s much more popular 1139: 1076:Célestine Galli-Marié 939: 895: 865: 828: 765: 668:(the second doubling 452:Célestine Galli-Marié 408:Célestine Galli-Marié 406: 384:Revue des deux Mondes 283: 5313:La maison du docteur 5298:List of compositions 5114:Carmen: A Hip Hopera 5044:Carmen di Trastevere 5004:Carmen, la de Triana 4706:"Carmen (character)" 4677:: Opera in Four Acts 4522:Schonberg, Harold C. 4496:Nietzsche, Friedrich 4222:Carmen: A Hip Hopera 4140:from Francesco Rosi" 3898:. Presto Classical. 3757:. Presto Classical. 3363:Curtiss, pp. 435–436 3323:. Metropolitan Opera 3283:Curtiss, pp. 429–431 3262:Dean 1965, p. 129(n) 3232:Curtiss, pp. 427–428 3211:Curtiss, pp. 408–409 3172:Curtiss, pp. 395–396 3121:Curtiss, pp. 386–387 3095:The Mapleson Memoirs 2944:Curtiss, pp. 405–406 2836:Dean 1965, p. 215(n) 2770:Curtiss, pp. 397–398 2448:Dean 1965, pp. 97–98 2439:Dean 1965, pp. 69–73 2430:Curtiss, pp. 131–142 2251:Carmen: A Hip Hopera 2242:1988 Winter Olympics 1692:on a sustained high 1611:from act 2, and the 1201:Théodore de Banville 596:Corporal of Dragoons 541:Pierre-Armand Potel 460:Corporal of Dragoons 5659:Opera controversies 5649:Operas set in Spain 5449:Symphony in C major 5024:The Loves of Carmen 4994:Nights in Andalusia 4974:The Loves of Carmen 4344:Bizet and His World 4051:(29 October 1954). 3992:4 June 2016 at the 3948:Oxford Music Online 3702:. Marston Records. 3555:Oxford Music Online 3486:The Daily Telegraph 3062:Oxford Music Online 3026:Oxford Music Online 2758:Newman, pp. 249–252 2732:Oxford Music Online 2690:Oxford Music Online 2566:Oxford Music Online 2534:Newman, pp. 267–268 2183:The Wild, Wild Rose 2143:The Loves of Carmen 1747:Prelude (orchestra) 1481:Camille Saint-Saëns 1420:On 9 January 1884, 1352:Friedrich Nietzsche 1180:. Léon Escudier in 1058:Assembling the cast 1053:Performance history 1008:Harold C. Schonberg 868:A square in Seville 800:Lillas Pastia's Inn 768:Pierre-Auguste Lamy 580:Companion of Carmen 564:Companion of Carmen 418: 333:Franco-Prussian War 246:and the realism or 5465:(piano duet, 1871) 5321:Le docteur Miracle 5074:First Name: Carmen 4576:. London: Cassel. 4570:Weinstock, Herbert 4177:The New York Times 4170:First Name: Carmen 4168:"Screen: Godard's 4145:The New York Times 4058:The New York Times 3965:Greenfield, Edward 3859:Grove Music Online 3782:Greenfield, Edward 3193:Steen, pp. 604–605 3090:Mapleson, James H. 2854:McClary, pp. 25–26 2612:Grove Music Online 2342:Grove Music Online 2333:Grove Music Online 2038: 2008:Francesca Zambello 1942: 1713:'s short operetta 1569: 1497:Walter Felsenstein 1462:The popularity of 1431:The New York Times 1426:Metropolitan Opera 1418: 1305: 1281:L'Arlésienne suite 1268:Vienna Court Opera 1148: 946: 901: 871: 842: 772: 414: 412: 352:Le docteur Miracle 290: 5547: 5546: 5494:François Delsarte 5424:Opera discography 5255: 5254: 5185:Carmen up to Data 4905:Carmen Variations 4590:Winchester, Simon 4561:978-1-84046-679-9 4166:(3 August 1984). 3881:978-1-56159-263-0 3653:Azaola, pp. 19–20 3605:Azaola, pp. 16–18 3593:Azaola, pp. 11–14 3567:(subscription or 3483:by Nick Squires, 3241:Weinstock, p. 115 3202:Dean 1965, p. 118 3184:Dean 1965, p. 117 3163:Dean 1965, p. 116 3074:(subscription or 3054:Forbes, Elizabeth 3038:(subscription or 3018:Forbes, Elizabeth 2989:Dean 1965, p. 110 2971:Dean 1965, p. 226 2908:Dean 1965, p. 244 2871:The French Review 2779:Dean 1965, p. 105 2744:(subscription or 2702:(subscription or 2684:Macdonald, Hugh. 2625:(subscription or 2578:(subscription or 2560:Macdonald, Hugh. 2525:Dean 1965, p. 230 2460:Dean 1965, p. 100 2287:Mark Dornford-May 2277:Joseph Gaï Ramaka 2228:(1990), starring 2170:Oscar Hammerstein 2109:Gerolamo Lo Savio 2060:Vladimir Horowitz 2042:Pablo de Sarasate 1965:Performed by the 1960: 1917: 1916: 1715:El criado fingido 1662: 1598: 1574:Sebastián Yradier 1394:Worldwide success 1348:Otto von Bismarck 1240:Nadezhda von Meck 1125:James H. Mapleson 1123:; the impresario 1117:Marguerite Chapuy 1049:'s own heroines. 931:Adolphe de Leuven 838:Salzburg Festival 744:Time: Around 1820 641: 640: 506:Marguerite Chapuy 389:Alexander Pushkin 369:Adolphe de Leuven 361:Jacques Offenbach 139: 138: 16:(Redirected from 5676: 5576: 5575: 5574: 5564: 5563: 5555: 5537: 5527: 5526: 5504:Related articles 5488:Geneviève Halévy 5358:Fromental Halévy 5282: 5275: 5268: 5259: 5258: 5248: 5239: 5229: 5222: 5215: 5206: 5197: 5188: 5168: 5158: 5148: 5138: 5128: 5118: 5108: 5098: 5088: 5078: 5068: 5058: 5048: 5038: 5028: 5018: 5008: 4998: 4988: 4978: 4968: 4958: 4948: 4938: 4928: 4915:Film adaptations 4907: 4900: 4893: 4884: 4877: 4870: 4861: 4852: 4834: 4824: 4814: 4804: 4794: 4773: 4740: 4733: 4726: 4717: 4716: 4702: 4693: 4645:: Scores at the 4630: 4607: 4585: 4565: 4546: 4534: 4517: 4491: 4471: 4449: 4425: 4401: 4376: 4356: 4337: 4310: 4309: 4307: 4305: 4290: 4284: 4283: 4281: 4279: 4262: 4256: 4255: 4253: 4251: 4235: 4229: 4218: 4212: 4200: 4194: 4193: 4191: 4189: 4160: 4154: 4153: 4128: 4119: 4118: 4116: 4114: 4103: 4097: 4096: 4094: 4092: 4081: 4075: 4074: 4072: 4070: 4049:Crowther, Bosley 4045: 4039: 4027: 4021: 4009: 4003: 3981: 3975: 3974: 3961: 3955: 3954: 3951: 3945: 3937: 3931: 3918: 3912: 3911: 3909: 3907: 3892: 3886: 3885: 3862:(8th ed.). 3853: 3847: 3846: 3822: 3816: 3815: 3812:Internet Archive 3795: 3777: 3771: 3770: 3768: 3766: 3751: 3742: 3741: 3739: 3737: 3722: 3716: 3715: 3713: 3711: 3696: 3690: 3687: 3681: 3678: 3672: 3669: 3663: 3660: 3654: 3651: 3642: 3639: 3633: 3630: 3624: 3621: 3615: 3612: 3606: 3603: 3594: 3591: 3582: 3579: 3573: 3572: 3565: 3563: 3561: 3546: 3540: 3537: 3520: 3517: 3511: 3508: 3502: 3496: 3490: 3478: 3472: 3471:Wright, pp. ix–x 3469: 3463: 3460: 3451: 3448: 3442: 3439: 3433: 3430: 3424: 3421: 3408: 3405: 3399: 3396: 3390: 3389: 3387: 3385: 3370: 3364: 3361: 3352: 3349: 3343: 3340: 3334: 3332: 3330: 3328: 3313: 3302: 3299: 3293: 3290: 3284: 3281: 3272: 3269: 3263: 3260: 3254: 3251: 3242: 3239: 3233: 3230: 3221: 3218: 3212: 3209: 3203: 3200: 3194: 3191: 3185: 3182: 3173: 3170: 3164: 3161: 3155: 3152: 3143: 3140: 3134: 3131: 3122: 3119: 3113: 3110: 3104: 3103: 3086: 3080: 3079: 3072: 3070: 3068: 3050: 3044: 3043: 3036: 3034: 3032: 3014: 3008: 3005: 2999: 2996: 2990: 2987: 2981: 2978: 2972: 2969: 2963: 2962:Azaola, pp. 9–10 2960: 2954: 2953:Schonberg, p. 35 2951: 2945: 2942: 2936: 2933: 2927: 2924: 2909: 2906: 2900: 2897: 2891: 2890: 2887: 2861: 2855: 2852: 2837: 2834: 2828: 2825: 2819: 2816: 2810: 2807: 2780: 2777: 2771: 2768: 2759: 2756: 2750: 2749: 2742: 2740: 2738: 2723: 2717: 2714: 2708: 2707: 2700: 2698: 2696: 2681: 2666: 2659: 2653: 2648:Bizet, Georges. 2646: 2640: 2637: 2631: 2630: 2623: 2621: 2619: 2602: 2596: 2593: 2584: 2583: 2576: 2574: 2572: 2557: 2544: 2543:Dean 1965, p. 34 2541: 2535: 2532: 2526: 2523: 2517: 2516: 2514: 2512: 2497: 2488: 2485: 2479: 2478:Dean 1965, p. 84 2476: 2470: 2467: 2461: 2458: 2449: 2446: 2440: 2437: 2431: 2428: 2422: 2419: 2404: 2400: 2394: 2390: 2384: 2373: 2367: 2364: 2358: 2351: 2345: 2324: 2318: 2315: 2138:Cecil B. DeMille 2127: 2117: 2085:Maya Plisetskaya 2071:Rodion Shchedrin 2052:Ferruccio Busoni 2031: 2023:Vittoria Lepanto 1962: 1961: 1939: 1903: 1834: 1830: 1737: 1731:G. Schirmer Inc. 1664: 1663: 1600: 1599: 1589:Prelude to act 1 1534: 1525:critical edition 1407:Geraldine Farrar 1376: 1341:Saint Petersburg 1337:Academy of Music 1293:Franz von Jauner 1290: 1249: 1194: 1190: 1157:Adolphe Deloffre 1153:Legion of Honour 971:Characterisation 966: 927:Camille du Locle 830:Magdalena Kožená 816: 786: 572:Esther Chevalier 496:A Village Maiden 434:Adolphe Deloffre 419: 417: 413: 299: 298: 260:introduction of 162: 161: 160: 154: 152:[kaʁmɛn] 149: 127: 125: 62: 39: 38: 21: 5684: 5683: 5679: 5678: 5677: 5675: 5674: 5673: 5639:Opéras comiques 5584: 5583: 5582: 5572: 5570: 5558: 5550: 5548: 5543: 5515: 5499: 5476: 5437: 5419: 5387: 5300: 5291: 5286: 5256: 5251: 5242: 5232: 5225: 5218: 5209: 5203:Carmen Brasilia 5200: 5191: 5182: 5171: 5161: 5151: 5141: 5131: 5121: 5111: 5101: 5091: 5081: 5071: 5061: 5051: 5041: 5031: 5021: 5011: 5001: 4991: 4981: 4971: 4961: 4951: 4941: 4931: 4921: 4910: 4903: 4896: 4887: 4880: 4873: 4864: 4855: 4848: 4837: 4827: 4817: 4807: 4797: 4787: 4776: 4766: 4755: 4744: 4700: 4667: 4649:These include: 4637: 4627: 4610: 4604: 4588: 4568: 4562: 4549: 4543: 4520: 4494: 4474: 4468: 4452: 4446: 4428: 4422: 4404: 4398: 4379: 4359: 4340: 4334: 4321: 4318: 4313: 4303: 4301: 4292: 4291: 4287: 4277: 4275: 4263: 4259: 4249: 4247: 4238:Curnow, Robyn. 4236: 4232: 4219: 4215: 4201: 4197: 4187: 4185: 4161: 4157: 4129: 4122: 4112: 4110: 4105: 4104: 4100: 4090: 4088: 4083: 4082: 4078: 4068: 4066: 4046: 4042: 4033:(1915, DeMille) 4028: 4024: 4010: 4006: 3994:Wayback Machine 3982: 3978: 3962: 3958: 3952: 3938: 3934: 3919: 3915: 3905: 3903: 3894: 3893: 3889: 3882: 3854: 3850: 3843: 3823: 3819: 3808: 3788:, eds. (1993). 3778: 3774: 3764: 3762: 3753: 3752: 3745: 3735: 3733: 3724: 3723: 3719: 3709: 3707: 3698: 3697: 3693: 3688: 3684: 3679: 3675: 3670: 3666: 3661: 3657: 3652: 3645: 3640: 3636: 3631: 3627: 3622: 3618: 3613: 3609: 3604: 3597: 3592: 3585: 3580: 3576: 3566: 3559: 3557: 3547: 3543: 3538: 3523: 3519:Lacombe, p. 233 3518: 3514: 3509: 3505: 3497: 3493: 3479: 3475: 3470: 3466: 3461: 3454: 3449: 3445: 3440: 3436: 3431: 3427: 3422: 3411: 3407:Curtiss, p. 462 3406: 3402: 3397: 3393: 3383: 3381: 3372: 3371: 3367: 3362: 3355: 3350: 3346: 3341: 3337: 3326: 3324: 3315: 3314: 3305: 3300: 3296: 3292:Curtiss, p. 430 3291: 3287: 3282: 3275: 3271:Nietzsche, p. 3 3270: 3266: 3261: 3257: 3253:Curtiss, p. 426 3252: 3245: 3240: 3236: 3231: 3224: 3220:Curtiss, p. 379 3219: 3215: 3210: 3206: 3201: 3197: 3192: 3188: 3183: 3176: 3171: 3167: 3162: 3158: 3153: 3146: 3142:Curtiss, p. 391 3141: 3137: 3132: 3125: 3120: 3116: 3111: 3107: 3087: 3083: 3073: 3066: 3064: 3051: 3047: 3037: 3030: 3028: 3015: 3011: 3007:Curtiss, p. 383 3006: 3002: 2998:Curtiss, p. 364 2997: 2993: 2988: 2984: 2980:Curtiss, p. 355 2979: 2975: 2970: 2966: 2961: 2957: 2952: 2948: 2943: 2939: 2934: 2930: 2925: 2912: 2907: 2903: 2898: 2894: 2888: 2862: 2858: 2853: 2840: 2835: 2831: 2826: 2822: 2818:Curtiss, p. 351 2817: 2813: 2808: 2783: 2778: 2774: 2769: 2762: 2757: 2753: 2743: 2736: 2734: 2728:"Opéra comique" 2724: 2720: 2716:Curtiss, p. 352 2715: 2711: 2701: 2694: 2692: 2682: 2669: 2660: 2656: 2647: 2643: 2639:Curtiss, p. 390 2638: 2634: 2624: 2617: 2615: 2603: 2599: 2594: 2587: 2577: 2570: 2568: 2558: 2547: 2542: 2538: 2533: 2529: 2524: 2520: 2510: 2508: 2499: 2498: 2491: 2486: 2482: 2477: 2473: 2468: 2464: 2459: 2452: 2447: 2443: 2438: 2434: 2429: 2425: 2420: 2416: 2412: 2407: 2401: 2397: 2391: 2387: 2374: 2370: 2365: 2361: 2352: 2348: 2325: 2321: 2316: 2312: 2308: 2303: 2256:Beyoncé Knowles 2246:Robert Townsend 2220:Plácido Domingo 2204:Jean-Luc Godard 2121: 2111: 2025: 2016: 1984: 1983: 1975: 1973: 1972: 1971: 1970: 1963: 1956: 1953: 1943: 1937: 1932: 1923: 1918: 1910: 1901: 1879: 1841: 1832: 1828: 1727: 1725:Musical numbers 1669: 1668: 1667: 1666: 1665: 1658: 1655: 1605: 1604: 1603: 1602: 1601: 1594: 1591: 1542: 1532: 1396: 1374: 1288: 1260: 1247: 1192: 1188: 1166:Benjamin Godard 1143:Journal amusant 1134: 1060: 1055: 1035:Richard Strauss 973: 960: 890: 888:Writing history 885: 860: 823: 814: 797: 784: 751: 734: 651: 649:Instrumentation 610:Lillas Pastia, 604:Edmond Duvernoy 524:Eugène Dufriche 431: 415: 401: 373:Prosper Mérimée 314:Théâtre Lyrique 278: 185:Prosper Mérimée 179:, based on the 171:was written by 156: 155: 147: 135: 134: 128: 123: 121: 110:Prosper Mérimée 107: 86: 65: 35: 28: 23: 22: 15: 12: 11: 5: 5682: 5672: 5671: 5666: 5661: 5656: 5651: 5646: 5641: 5636: 5631: 5626: 5621: 5616: 5611: 5606: 5601: 5596: 5581: 5580: 5568: 5545: 5544: 5542: 5541: 5531: 5520: 5517: 5516: 5514: 5513: 5507: 5505: 5501: 5500: 5498: 5497: 5491: 5484: 5482: 5478: 5477: 5475: 5474: 5466: 5462:Jeux d'enfants 5458: 5452: 5445: 5443: 5439: 5438: 5436: 5435: 5427: 5425: 5421: 5420: 5418: 5417: 5410: 5403: 5395: 5393: 5389: 5388: 5386: 5385: 5377: 5369: 5361: 5349: 5341: 5333: 5325: 5317: 5308: 5306: 5302: 5301: 5296: 5293: 5292: 5285: 5284: 5277: 5270: 5262: 5253: 5252: 5250: 5249: 5240: 5235:Carmen Get It! 5230: 5223: 5216: 5207: 5198: 5189: 5179: 5177: 5173: 5172: 5170: 5169: 5159: 5149: 5139: 5137:(France, 2003) 5129: 5127:(Russia, 2003) 5119: 5109: 5099: 5089: 5079: 5069: 5059: 5049: 5039: 5029: 5019: 5009: 4999: 4989: 4979: 4969: 4959: 4949: 4939: 4929: 4926:(1915 DeMille) 4918: 4916: 4912: 4911: 4909: 4908: 4901: 4894: 4885: 4878: 4871: 4862: 4853: 4845: 4843: 4839: 4838: 4836: 4835: 4833:(2008 musical) 4825: 4823:(1988 musical) 4820:Carmen, Carmen 4815: 4805: 4795: 4793:(1943 musical) 4784: 4782: 4778: 4777: 4775: 4774: 4763: 4761: 4757: 4756: 4743: 4742: 4735: 4728: 4720: 4714: 4713: 4703: 4695: 4669:Bizet, Georges 4665: 4664: 4663: 4660: 4657: 4636: 4635:External links 4633: 4632: 4631: 4625: 4608: 4602: 4586: 4566: 4560: 4547: 4541: 4518: 4492: 4476:Newman, Ernest 4472: 4466: 4456:, ed. (2000). 4450: 4444: 4430:McClary, Susan 4426: 4420: 4406:Lacombe, Hervé 4402: 4396: 4382:Sadie, Stanley 4377: 4357: 4338: 4332: 4317: 4314: 4312: 4311: 4285: 4257: 4230: 4213: 4195: 4164:Canby, Vincent 4155: 4132:Canby, Vincent 4120: 4098: 4076: 4040: 4022: 4004: 3976: 3956: 3932: 3913: 3887: 3880: 3848: 3841: 3817: 3806: 3786:Layton, Robert 3772: 3743: 3717: 3691: 3689:Newman, p. 296 3682: 3673: 3671:Newman, p. 291 3664: 3662:Newman, p. 289 3655: 3643: 3641:Newman, p. 284 3634: 3632:Newman, p. 281 3625: 3623:Newman, p. 280 3616: 3614:Newman, p. 276 3607: 3595: 3583: 3581:Newman, p. 255 3574: 3541: 3521: 3512: 3503: 3491: 3473: 3464: 3452: 3450:McClary, p. 18 3443: 3434: 3425: 3409: 3400: 3398:Newman, p. 274 3391: 3365: 3353: 3344: 3335: 3303: 3294: 3285: 3273: 3264: 3255: 3243: 3234: 3222: 3213: 3204: 3195: 3186: 3174: 3165: 3156: 3154:Newman, p. 248 3144: 3135: 3123: 3114: 3105: 3081: 3045: 3009: 3000: 2991: 2982: 2973: 2964: 2955: 2946: 2937: 2928: 2910: 2901: 2892: 2878:(6): 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1541: 1538: 1436:Zelia Trebelli 1415:Pasquale Amato 1395: 1392: 1366:and, in 1881, 1272:Ernest Guiraud 1259: 1258:Early revivals 1256: 1133: 1130: 1059: 1056: 1054: 1051: 1037:'s Salome and 1017:Hugh Macdonald 972: 969: 942:Étienne Carjat 889: 886: 884: 881: 859: 856: 834:Jonas Kaufmann 822: 819: 796: 793: 750: 747: 746: 745: 742: 733: 730: 650: 647: 646: 645: 639: 638: 632: 631: 628: 625: 621: 620: 617: 614: 607: 606: 601: 598: 591: 590: 585: 582: 575: 574: 569: 568:mezzo-soprano 566: 559: 558: 553: 550: 546:Le Remendado, 543: 542: 539: 534: 527: 526: 521: 516: 509: 508: 503: 498: 491: 490: 485: 480: 473: 472: 467: 462: 455: 454: 449: 444: 437: 436: 428: 423: 400: 397: 391:'s 1824 poem " 363:'s operettas. 347:Ludovic Halévy 277: 274: 266:Ernest Guiraud 177:Ludovic Halévy 137: 136: 129: 119: 117: 113: 112: 100: 96: 95: 92: 88: 87: 85: 84: 79: 77:Ludovic Halévy 73: 71: 67: 66: 63: 55: 54: 44: 43: 26: 9: 6: 4: 3: 2: 5681: 5670: 5667: 5665: 5662: 5660: 5657: 5655: 5652: 5650: 5647: 5645: 5642: 5640: 5637: 5635: 5632: 5630: 5627: 5625: 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5602: 5600: 5597: 5595: 5592: 5591: 5589: 5579: 5569: 5567: 5562: 5557: 5556: 5553: 5540: 5536: 5532: 5530: 5522: 5521: 5518: 5512: 5509: 5508: 5506: 5502: 5495: 5492: 5489: 5486: 5485: 5483: 5479: 5472: 5471: 5467: 5464: 5463: 5459: 5456: 5455:Roma Symphony 5453: 5450: 5447: 5446: 5444: 5440: 5434: 5433: 5429: 5428: 5426: 5422: 5415: 5414:Toreador Song 5411: 5408: 5404: 5401: 5397: 5396: 5394: 5390: 5383: 5382: 5378: 5375: 5374: 5370: 5367: 5366: 5362: 5359: 5355: 5354: 5350: 5347: 5346: 5342: 5339: 5338: 5334: 5331: 5330: 5326: 5323: 5322: 5318: 5315: 5314: 5310: 5309: 5307: 5303: 5299: 5294: 5290: 5289:Georges Bizet 5283: 5278: 5276: 5271: 5269: 5264: 5263: 5260: 5246: 5241: 5237: 5236: 5231: 5228: 5224: 5221: 5217: 5214: 5213: 5208: 5204: 5199: 5196: 5195: 5190: 5187: 5186: 5181: 5180: 5178: 5174: 5166: 5165: 5160: 5156: 5155: 5154:Carmen's Kiss 5150: 5146: 5145: 5140: 5136: 5135: 5130: 5126: 5125: 5120: 5116: 5115: 5110: 5106: 5105: 5104:Carmen on Ice 5100: 5096: 5095: 5090: 5086: 5085: 5080: 5076: 5075: 5070: 5066: 5065: 5060: 5056: 5055: 5050: 5046: 5045: 5040: 5036: 5035: 5030: 5026: 5025: 5020: 5016: 5015: 5010: 5006: 5005: 5000: 4996: 4995: 4990: 4986: 4985: 4980: 4976: 4975: 4970: 4966: 4965: 4960: 4956: 4955: 4950: 4946: 4945: 4940: 4937: 4935: 4930: 4927: 4925: 4920: 4919: 4917: 4913: 4906: 4902: 4899: 4898:Carmen Suites 4895: 4892: 4891: 4886: 4883: 4882:Toreador Song 4879: 4876: 4872: 4869: 4868: 4863: 4860: 4859: 4854: 4851: 4847: 4846: 4844: 4840: 4832: 4831: 4826: 4822: 4821: 4816: 4813:(1967 ballet) 4812: 4811: 4806: 4803:(1949 ballet) 4802: 4801: 4796: 4792: 4791: 4786: 4785: 4783: 4779: 4771: 4770: 4765: 4764: 4762: 4758: 4754: 4753: 4748: 4747:Georges Bizet 4741: 4736: 4734: 4729: 4727: 4722: 4721: 4718: 4711: 4707: 4704: 4699: 4696: 4691: 4687: 4683: 4679: 4678: 4674: 4670: 4666: 4661: 4658: 4655: 4651: 4650: 4648: 4644: 4643: 4639: 4638: 4628: 4626:1-57647-032-6 4622: 4618: 4614: 4609: 4605: 4603:0-14-101634-5 4599: 4595: 4591: 4587: 4583: 4579: 4575: 4571: 4567: 4563: 4557: 4553: 4548: 4544: 4542:0-86007-723-3 4538: 4533: 4532: 4529: 4523: 4519: 4515: 4511: 4507: 4503: 4502: 4497: 4493: 4489: 4485: 4481: 4477: 4473: 4469: 4467:3-8290-3571-3 4463: 4459: 4455: 4451: 4447: 4445:0-521-39897-5 4441: 4437: 4436: 4431: 4427: 4423: 4421:0-520-21719-5 4417: 4413: 4412: 4407: 4403: 4399: 4397:0-333-23111-2 4393: 4389: 4388: 4383: 4378: 4374: 4370: 4366: 4362: 4358: 4354: 4350: 4346: 4345: 4339: 4335: 4333:84-9798-071-9 4329: 4325: 4320: 4319: 4299: 4296:(in German). 4295: 4289: 4274: 4273: 4268: 4261: 4245: 4241: 4234: 4228: 4224: 4223: 4217: 4211: 4207: 4205: 4204:Carmen on Ice 4199: 4183: 4179: 4178: 4173: 4171: 4165: 4159: 4151: 4147: 4146: 4141: 4139: 4133: 4127: 4125: 4108: 4102: 4086: 4080: 4064: 4060: 4059: 4054: 4050: 4044: 4038: 4034: 4032: 4026: 4020: 4016: 4015:(1915, Walsh) 4014: 4008: 4001: 4000: 3995: 3991: 3988: 3987: 3980: 3973:. p. 48. 3972: 3971: 3966: 3960: 3949: 3944: 3936: 3930: 3926: 3925: 3917: 3901: 3897: 3891: 3883: 3877: 3873: 3869: 3865: 3861: 3860: 3852: 3844: 3842:0-86024-972-7 3838: 3834: 3830: 3829: 3821: 3813: 3809: 3807:0-14-046957-5 3803: 3799: 3794: 3793: 3787: 3783: 3780:March, Ivan; 3776: 3760: 3756: 3750: 3748: 3731: 3727: 3721: 3705: 3701: 3695: 3686: 3680:Azaola, p. 21 3677: 3668: 3659: 3650: 3648: 3638: 3629: 3620: 3611: 3602: 3600: 3590: 3588: 3578: 3570: 3556: 3552: 3545: 3536: 3534: 3532: 3530: 3528: 3526: 3516: 3510:Lacombe, p. 1 3507: 3500: 3495: 3488: 3487: 3482: 3477: 3468: 3459: 3457: 3447: 3438: 3432:Steen, p. 606 3429: 3420: 3418: 3416: 3414: 3404: 3395: 3379: 3376:. BBC. 2016. 3375: 3369: 3360: 3358: 3348: 3339: 3322: 3320: 3312: 3310: 3308: 3298: 3289: 3280: 3278: 3268: 3259: 3250: 3248: 3238: 3229: 3227: 3217: 3208: 3199: 3190: 3181: 3179: 3169: 3160: 3151: 3149: 3139: 3130: 3128: 3118: 3109: 3101: 3097: 3096: 3091: 3085: 3077: 3063: 3059: 3055: 3049: 3041: 3027: 3023: 3019: 3013: 3004: 2995: 2986: 2977: 2968: 2959: 2950: 2941: 2932: 2923: 2921: 2919: 2917: 2915: 2905: 2896: 2885: 2881: 2877: 2873: 2872: 2867: 2860: 2851: 2849: 2847: 2845: 2843: 2833: 2824: 2815: 2806: 2804: 2802: 2800: 2798: 2796: 2794: 2792: 2790: 2788: 2786: 2776: 2767: 2765: 2755: 2747: 2733: 2729: 2722: 2713: 2705: 2691: 2687: 2680: 2678: 2676: 2674: 2672: 2664: 2658: 2651: 2645: 2636: 2628: 2614: 2613: 2608: 2601: 2592: 2590: 2581: 2567: 2563: 2556: 2554: 2552: 2550: 2540: 2531: 2522: 2506: 2502: 2496: 2494: 2484: 2475: 2466: 2457: 2455: 2445: 2436: 2427: 2421:Steen, p. 586 2418: 2414: 2399: 2389: 2382: 2378: 2372: 2363: 2356: 2355:opéra comique 2350: 2343: 2339: 2335: 2334: 2329: 2328:bass-baritone 2323: 2314: 2310: 2298: 2296: 2293:award of the 2292: 2288: 2284: 2283: 2279:in 2001, and 2278: 2274: 2273: 2267: 2265: 2261: 2257: 2253: 2252: 2247: 2243: 2239: 2235: 2234:Brian Boitano 2231: 2230:Katarina Witt 2227: 2226: 2225:Carmen on Ice 2221: 2217: 2216:Julia Migenes 2213: 2209: 2205: 2201: 2197: 2193: 2189: 2185: 2184: 2179: 2175: 2171: 2167: 2166: 2161: 2157: 2156:Charles Vidor 2153: 2149: 2148:Rita Hayworth 2145: 2144: 2139: 2135: 2131: 2125: 2120: 2115: 2110: 2104: 2101: 2097: 2092: 2090: 2086: 2082: 2081: 2076: 2072: 2068: 2067: 2061: 2057: 2053: 2049: 2048: 2043: 2035: 2029: 2024: 2020: 2011: 2009: 2005: 2001: 2000:David McVicar 1996: 1992: 1988: 1982: 1980: 1968: 1952: 1951: 1931: 1929: 1913: 1906: 1899: 1896: 1893: 1892: 1883: 1882: 1881: 1880: 1875: 1872: 1869: 1866: 1863: 1860: 1857: 1856: 1852: 1845: 1844: 1843: 1842: 1837: 1826: 1823: 1820: 1817: 1816:Toreador Song 1814: 1811: 1808: 1805: 1804: 1800: 1793: 1792: 1791: 1790: 1786: 1783: 1780: 1777: 1774: 1771: 1768: 1765: 1761: 1758: 1755: 1752: 1749: 1746: 1745: 1744: 1743: 1739: 1738: 1734: 1732: 1722: 1720: 1716: 1712: 1711:Manuel García 1707: 1704: 1703: 1697: 1695: 1691: 1687: 1683: 1678: 1674: 1654: 1653:Toreador Song 1646: 1644: 1639: 1634: 1630: 1626: 1622: 1618: 1614: 1610: 1609:Toreador Song 1590: 1582: 1579: 1575: 1565: 1561: 1559: 1554: 1553:opéra comique 1550: 1546: 1545:Hervé Lacombe 1537: 1531: 1526: 1522: 1518: 1514: 1513:Susan McClary 1510: 1504: 1502: 1501:Komische Oper 1498: 1494: 1489: 1484: 1482: 1478: 1474: 1470: 1465: 1460: 1458: 1454: 1450: 1449:San Francisco 1445: 1444:Enrico Caruso 1441: 1437: 1433: 1432: 1427: 1423: 1416: 1412: 1411:Enrico Caruso 1408: 1404: 1400: 1391: 1388: 1384: 1379: 1373: 1369: 1365: 1361: 1357: 1353: 1349: 1344: 1342: 1338: 1334: 1330: 1329:Adelina Patti 1326: 1322: 1318: 1314: 1310: 1301: 1297: 1294: 1287: 1283: 1282: 1277: 1273: 1269: 1265: 1255: 1253: 1245: 1241: 1237: 1232: 1227: 1223: 1222: 1217: 1213: 1208: 1206: 1203:; writing in 1202: 1198: 1187: 1183: 1182:L'Art Musical 1179: 1175: 1169: 1167: 1162: 1161:Ernest Newman 1158: 1154: 1145: 1144: 1140:Cartoon from 1138: 1129: 1126: 1122: 1118: 1114: 1110: 1109: 1104: 1103:Jacques Bouhy 1100: 1096: 1095:Covent Garden 1092: 1088: 1084: 1079: 1077: 1073: 1069: 1065: 1064:Zulma Bouffar 1050: 1048: 1042: 1040: 1036: 1032: 1028: 1027: 1023: 1018: 1014: 1009: 1003: 999: 997: 993: 992: 987: 986:opéra comique 982: 981:opéra comique 978: 968: 964: 959: 955: 951: 943: 938: 934: 932: 928: 924: 918: 915: 911: 910:opéra comique 907: 899: 894: 880: 876: 875: 869: 864: 855: 851: 847: 846: 839: 835: 831: 827: 818: 810: 808: 807:Toreador Song 802: 801: 792: 790: 780: 777: 769: 764: 760: 756: 755: 743: 740: 736: 735: 729: 727: 723: 719: 715: 711: 707: 703: 699: 695: 691: 687: 683: 679: 675: 671: 667: 663: 660: 656: 643: 642: 637: 633: 629: 626: 622: 618: 615: 613: 608: 605: 602: 599: 597: 592: 589: 588:Alice Ducasse 586: 583: 581: 576: 573: 570: 567: 565: 560: 557: 554: 551: 549: 544: 540: 538: 535: 533: 530:Le Dancaïre, 528: 525: 522: 520: 517: 515: 510: 507: 504: 502: 499: 497: 492: 489: 488:Jacques Bouhy 486: 484: 483:bass-baritone 481: 479: 474: 471: 468: 466: 463: 461: 456: 453: 450: 448: 447:mezzo-soprano 445: 443: 438: 435: 427: 420: 409: 405: 396: 394: 390: 386: 385: 380: 379: 374: 370: 364: 362: 358: 354: 353: 348: 344: 343:Henri Meilhac 340: 339: 334: 329: 327: 326: 321: 320: 315: 311: 310:Léon Carvalho 307: 306:Opéra-Comique 303: 297: 287: 282: 273: 271: 267: 263: 258: 255:The music of 253: 251: 250: 245: 244:opéra comique 241: 236: 231: 228: 224: 220: 219: 218:opéra comique 213: 211: 210:Toreador Song 207: 203: 199: 195: 190: 189:Opéra-Comique 186: 182: 178: 174: 173:Henri Meilhac 170: 166: 165:Georges Bizet 159: 153: 145: 144: 132: 131:Opéra-Comique 118: 114: 111: 106: 105: 101: 97: 93: 89: 83: 82:Henri Meilhac 80: 78: 75: 74: 72: 68: 61: 56: 53: 52:Georges Bizet 49: 45: 40: 37: 33: 19: 5470:L'Arlésienne 5468: 5460: 5431: 5380: 5379: 5371: 5363: 5351: 5343: 5335: 5329:Don Procopio 5327: 5319: 5311: 5233: 5210: 5192: 5183: 5162: 5152: 5142: 5132: 5122: 5112: 5102: 5092: 5082: 5072: 5062: 5052: 5042: 5034:Carmen Jones 5032: 5022: 5012: 5002: 4992: 4982: 4972: 4962: 4952: 4942: 4936:(1915 Walsh) 4933: 4923: 4888: 4865: 4856: 4828: 4818: 4810:Carmen Suite 4808: 4798: 4790:Carmen Jones 4788: 4767: 4751: 4750: 4680:. New York: 4676: 4673: 4641: 4616: 4593: 4573: 4551: 4531: 4527: 4506:T. N. Foulis 4500: 4480:Great Operas 4479: 4457: 4454:Neef, Sigrid 4434: 4410: 4385: 4364: 4361:Dean, Winton 4343: 4323: 4302:. Retrieved 4288: 4276:. Retrieved 4270: 4260: 4248:. Retrieved 4233: 4221: 4216: 4203: 4198: 4186:. Retrieved 4175: 4169: 4158: 4143: 4137: 4111:. Retrieved 4101: 4089:. Retrieved 4079: 4067:. Retrieved 4056: 4043: 4030: 4025: 4012: 4007: 3997: 3985: 3979: 3968: 3959: 3947: 3935: 3923: 3916: 3904:. Retrieved 3890: 3857: 3851: 3827: 3820: 3810:– via 3791: 3775: 3763:. Retrieved 3734:. Retrieved 3728:. Operadis. 3720: 3708:. Retrieved 3694: 3685: 3676: 3667: 3658: 3637: 3628: 3619: 3610: 3577: 3558:. Retrieved 3554: 3544: 3515: 3506: 3494: 3484: 3476: 3467: 3446: 3437: 3428: 3403: 3394: 3382:. Retrieved 3374:"Ten Pieces" 3368: 3347: 3338: 3325:. Retrieved 3318: 3297: 3288: 3267: 3258: 3237: 3216: 3207: 3198: 3189: 3168: 3159: 3138: 3117: 3108: 3094: 3084: 3065:. Retrieved 3061: 3048: 3029:. 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Retrieved 2483: 2474: 2465: 2444: 2435: 2426: 2417: 2398: 2388: 2371: 2362: 2354: 2349: 2341: 2336:article on " 2331: 2322: 2313: 2280: 2270: 2268: 2259: 2249: 2223: 2199: 2192:Carlos Saura 2181: 2165:Carmen Jones 2163: 2146:(1948) with 2141: 2140:(1915), and 2132:(1915) with 2105: 2099: 2093: 2080:Carmen Suite 2078: 2074: 2065: 2062:played his " 2055: 2046: 2039: 2033: 2004:Glyndebourne 1995:Emmy Destinn 1986: 1985: 1976: 1949: 1927: 1911: 1890: 1889: 1854: 1853: 1802: 1801: 1741: 1740: 1728: 1714: 1708: 1702:L'Arlésienne 1701: 1698: 1689: 1686:English horn 1670: 1606: 1570: 1557: 1552: 1548: 1543: 1529: 1505: 1487: 1485: 1463: 1461: 1457:Palace Hotel 1439: 1429: 1421: 1419: 1402: 1382: 1380: 1371: 1355: 1345: 1316: 1306: 1285: 1280: 1263: 1261: 1251: 1243: 1230: 1225: 1220: 1211: 1209: 1204: 1185: 1181: 1170: 1149: 1141: 1106: 1098: 1097:premiere of 1080: 1061: 1043: 1025: 1021: 1013:Maria Callas 1004: 1000: 989: 985: 980: 976: 974: 949: 947: 919: 909: 905: 902: 897: 877: 873: 872: 867: 852: 848: 844: 843: 811: 803: 799: 798: 781: 773: 757: 753: 752: 652: 635: 612:an innkeeper 611: 595: 579: 563: 547: 531: 513: 495: 477: 459: 442:A Gypsy Girl 441: 382: 376: 365: 350: 336: 330: 323: 317: 296:Prix de Rome 291: 285: 264:composed by 256: 254: 247: 243: 239: 234: 232: 216: 214: 193: 142: 141: 140: 102: 36: 5599:1875 operas 5442:Other works 5212:The Car Man 5194:G.I. Carmen 4850:Discography 4781:Stage works 4682:G. Schirmer 4574:Tchaikovsky 4113:25 February 4091:21 February 3560:18 February 3441:Neef, p. 62 2695:18 February 2297:that year. 2291:Golden Bear 2264:Dada Masilo 2254:, starring 2238:Brian Orser 2188:Grace Chang 2130:Raoul Walsh 2122: [ 2112: [ 2096:Peter Brook 2087:, then the 2026: [ 2014:Adaptations 1930:discography 1509:Fritz Oeser 1473:Votre toast 1387:Adèle Isaac 1325:Minnie Hauk 1276:grand opera 1236:Tchaikovsky 1205:Le National 1115:'s Figaro. 1083:Paul Lhérie 961: [ 923:Winton Dean 670:cor anglais 578:Frasquita, 476:Escamillo, 470:Paul Lhérie 432:Conductor: 393:The Gypsies 375:'s novella 322:(1863) and 262:recitatives 5588:Categories 5227:Seguidilla 4304:11 October 4278:11 October 4250:4 November 3999:Opera News 3970:Gramophone 2607:"Baritone" 2326:The term " 2301:References 2272:Karmen Geï 2196:dance film 2152:Glenn Ford 2134:Theda Bara 1979:media help 1921:Recordings 1782:Seguidilla 1719:fortissimo 1690:pianissimo 1677:percussion 1313:La Monnaie 1072:Marie Roze 1039:Alban Berg 789:seguidilla 714:tambourine 619:M. Nathan 562:Mercédès, 458:Don José, 426:Voice type 276:Background 270:acoustical 206:Seguidilla 124:1875-03-03 70:Librettist 5457:(1860–71) 4772:(novella) 4488:592622247 4373:643867230 4353:505162968 4298:Berlinale 4188:13 August 4136:"Bizet's 4069:13 August 3571:required) 3327:13 August 3078:required) 3042:required) 2748:required) 2706:required) 2629:required) 2582:required) 2410:Citations 2353:The term 2295:Berlinale 2266:in 2010. 2172:Broadway 1682:castanets 1360:Marseille 1197:Wagnerian 1178:Boieldieu 1068:Offenbach 726:bass drum 722:castanets 706:side drum 690:trombones 674:clarinets 630:M. Teste 600:baritone 594:Moralès, 494:Micaëla, 410:as Carmen 357:Geneviève 302:the Opéra 18:Escamillo 5529:Category 5407:Habanera 5373:Djamileh 5340:(1862–5) 4875:Habanera 4698:Libretto 4671:(1958). 4654:Choudens 4592:(2005). 4572:(1946). 4530:Volume 2 4524:(1975). 4498:(1911). 4478:(1958). 4432:(1992). 4408:(2001). 4363:(1965). 4267:"Karmen" 4244:Archived 4182:Archived 4150:Archived 4063:Archived 3990:Archived 3929:AllMusic 3900:Archived 3759:Archived 3736:30 March 3730:Archived 3704:Archived 3378:Archived 3100:Archived 2737:29 March 2618:19 March 2571:29 March 2562:"Carmen" 2511:11 March 2505:Archived 2381:misogyny 2338:Baritone 2206:(1984). 2162:'s 1954 2103:cities. 2044:wrote a 1760:Habanera 1617:clarinet 1578:flamenco 1469:habanera 1323:, where 1087:Massenet 1031:Massenet 958:Choudens 954:Bougival 883:Creation 776:habanera 732:Synopsis 710:triangle 688:, three 686:trumpets 678:bassoons 659:doubling 624:A guide 584:soprano 548:smuggler 537:baritone 532:smuggler 512:Zuniga, 478:Toreador 440:Carmen, 338:Djamileh 304:and the 202:Habanera 169:libretto 116:Premiere 99:Based on 91:Language 5552:Portals 5496:(uncle) 5337:Ivan IV 5176:Related 4384:(ed.). 4316:Sources 4272:Variety 4242:. CNN. 3833:172–174 3765:8 March 3067:1 March 3031:1 March 1969:in 1903 1643:A sharp 1638:A major 1633:tremolo 1621:bassoon 1558:verismo 1521:Debussy 1266:by the 1221:Requiem 1184:called 1111:and as 1091:Delibes 996:Puccini 991:verismo 914:picador 866:Act 4: 836:at the 739:Seville 737:Place: 718:cymbals 702:timpani 698:strings 680:, four 672:), two 664:), two 662:piccolo 627:spoken 616:spoken 556:Barnolt 501:soprano 249:verismo 204:" and " 200:; the " 148:French: 133:, Paris 122: ( 5619:Operas 5594:Carmen 5490:(wife) 5481:Family 5451:(1855) 5432:Carmen 5384:(1875) 5381:Carmen 5376:(1872) 5368:(1867) 5348:(1863) 5332:(1859) 5324:(1857) 5305:Operas 5238:(1962) 5167:(2022) 5164:Carmen 5157:(2011) 5147:(2005) 5134:Carmen 5124:Carmen 5117:(2001) 5107:(1990) 5097:(1984) 5094:Carmen 5087:(1983) 5084:Carmen 5077:(1983) 5067:(1978) 5057:(1968) 5047:(1962) 5037:(1954) 5027:(1948) 5017:(1942) 5014:Carmen 5007:(1938) 4997:(1938) 4987:(1931) 4984:Carmen 4977:(1927) 4967:(1926) 4964:Carmen 4957:(1918) 4954:Carmen 4947:(1915) 4934:Carmen 4924:Carmen 4830:Carmen 4800:Carmen 4769:Carmen 4760:Source 4752:Carmen 4690:475327 4688: 4675:Carmen 4642:Carmen 4623: 4600: 4582:397644 4580: 4558: 4539: 4514:418505 4512: 4486: 4464: 4442: 4418: 4394: 4371: 4351: 4330: 4300:. 2005 4206:(1990) 4172:Opens" 4138:Carmen 4109:. 2005 4031:Carmen 4013:Carmen 3924:Carmen 3906:5 June 3878: 3839: 3804: 3710:22 May 3384:22 May 3319:Carmen 2884:386524 2882: 2866:Carmen 2260:Carmen 2202:) and 2119:(1909) 2075:Carmen 2066:Carmen 2056:Carmen 2036:(1909) 2034:Carmen 1987:Carmen 1950:Carmen 1928:Carmen 1912: 1902: 1833: 1829: 1694:B-flat 1629:cellos 1625:cornet 1549:Carmen 1530:Carmen 1517:Rameau 1488:Carmen 1477:Mahler 1464:Carmen 1440:Carmen 1422:Carmen 1403:Carmen 1383:Carmen 1372:Carmen 1368:Dieppe 1356:Carmen 1333:Dublin 1317:Carmen 1309:Brahms 1286:Carmen 1264:Carmen 1252:Carmen 1248: 1244:Carmen 1231:Carmen 1226:Carmen 1212:Carmen 1193: 1186:Carmen 1146:, 1911 1113:Mozart 1047:Gounod 1026:fatale 977:Carmen 950:Carmen 944:, 1875 906:Carmen 898:Carmen 815: 785: 770:, 1875 724:, and 696:, and 684:, two 676:, two 655:flutes 552:tenor 378:Carmen 286:Carmen 257:Carmen 240:Carmen 235:Carmen 227:torero 194:Carmen 167:. The 143:Carmen 104:Carmen 94:French 42:Carmen 5578:Music 5566:Opera 5539:Audio 5392:Arias 4842:Music 3798:25–28 2880:JSTOR 2306:Notes 2126:] 2116:] 2030:] 1891:Act 4 1855:Act 3 1803:Act 2 1742:Act 1 1673:brass 1631:over 1613:motif 1540:Music 1533:' 1375:' 1289:' 1216:Verdi 1189:' 1174:Auber 1108:Faust 1022:femme 965:] 858:Act 4 821:Act 3 795:Act 2 749:Act 1 682:horns 666:oboes 465:tenor 422:Role 399:Roles 223:gypsy 198:canon 48:Opera 5356:(by 5245:Nxde 4710:IMDb 4686:OCLC 4621:ISBN 4598:ISBN 4578:OCLC 4556:ISBN 4537:ISBN 4510:OCLC 4484:OCLC 4462:ISBN 4440:ISBN 4416:ISBN 4392:ISBN 4369:OCLC 4349:OCLC 4328:ISBN 4306:2023 4280:2023 4252:2017 4227:IMDb 4210:IMDb 4190:2024 4115:2021 4093:2021 4071:2024 4037:IMDb 4019:IMDb 3908:2012 3876:ISBN 3837:ISBN 3802:ISBN 3767:2012 3738:2012 3712:2016 3562:2012 3386:2016 3329:2024 3069:2012 3033:2012 2739:2012 2697:2012 2620:2021 2573:2012 2513:2012 2236:and 2218:and 2212:film 2150:and 1675:and 1627:and 1519:and 1413:and 1364:Lyon 1176:and 1089:and 929:and 840:2012 832:and 694:harp 519:bass 345:and 175:and 5353:Noé 4749:'s 4708:on 4225:at 4208:at 4035:at 4017:at 3927:at 3868:doi 2868:". 2210:'s 2032:in 2002:'s 1242:: " 1024:as 183:by 108:by 50:by 5590:: 4684:. 4508:. 4269:. 4180:. 4174:. 4148:. 4142:. 4123:^ 4061:. 4055:. 3946:. 3874:. 3866:. 3835:. 3800:. 3784:; 3746:^ 3646:^ 3598:^ 3586:^ 3553:. 3524:^ 3455:^ 3412:^ 3356:^ 3306:^ 3276:^ 3246:^ 3225:^ 3177:^ 3147:^ 3126:^ 3060:. 3056:. 3024:. 3020:. 2913:^ 2876:43 2874:. 2841:^ 2784:^ 2763:^ 2730:. 2688:. 2670:^ 2609:. 2588:^ 2564:. 2548:^ 2492:^ 2453:^ 2244:. 2232:, 2158:. 2136:, 2128:, 2124:it 2114:it 2028:it 2010:. 1762:: 1623:, 1619:, 1459:. 1409:, 1362:, 1343:. 1224:. 1101:. 998:. 963:fr 720:, 716:, 712:, 708:, 704:, 692:, 5554:: 5416:" 5412:" 5409:" 5405:" 5402:" 5398:" 5281:e 5274:t 5267:v 5247:" 5243:" 5205:" 5201:" 4739:e 4732:t 4725:v 4692:. 4629:. 4606:. 4584:. 4564:. 4545:. 4516:. 4490:. 4470:. 4448:. 4424:. 4400:. 4375:. 4355:. 4336:. 4308:. 4282:. 4254:. 4192:. 4117:. 4095:. 4073:. 3984:" 3950:. 3910:. 3884:. 3870:: 3845:. 3814:. 3769:. 3740:. 3714:. 3564:. 3388:. 3333:) 3331:. 3317:" 3071:. 3035:. 2886:. 2741:. 2699:. 2622:. 2575:. 2515:. 1981:. 657:( 146:( 126:) 34:. 20:)

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