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The Worlds of Gilbert and Sullivan

The Story of Carmen.

1. Notes on the Opera:

After a very shaky Paris start which almost destroyed the opera, its Vienna performance in 1875 placed Carmen in the top half-dozen most popular operatic works from which it has never descended. Full of whistleable tunes, the music has been described¹ as rich and precise, it builds, it organises, and it completes. In other words it is anything but the infinite melody of lighter works, often despised by critics.

The libretto by Henri Meilhac and Ludovic Halévy (who was related to Bizet's wife) was written whilst at the top of their profession, and also contained a significant input by Georges Bizet. The work abounds in choruses, each with its own characteristics - soldiers, ragamuffins, smugglers, and finally the surging colourful crowd outside the bull-ring.

Our information is that Georges had never been to Spain, but that he had often visited and stayed in the Pyrenees border-country between France and Spain. Through these experiences of Spanish folk-life and folk-music he achieved a recognisably Spanish character in the show, purely by musical means. Listen to our MusicSmiles arrangements of some of the pieces and see if you feel that way about it.

Over the years Bizet has sometimes been compared with Wagner, but 100 years on it is recognised that these two composers were totally dissimilar, and literally incomparable. Wagner built his progression on that long and distinguished line of German composers, Mozart, Beethoven, etc; whereas Bizet's climb through the French operatic scene to fame was far less predictable.

From the earliest days French opéra comique² had changed in form and character from conventions of satire and parody to sentimentality; from classical fairy stories to revolutionary ardour. However, two features remained constant: the popular, often archaic, simplicity of the music, and the use of spoken dialogue rather than sung recitative.

Bizet, never really a reformer, sometimes spoke of the importance of trying to change the genre of opéra comique, superseding the conventions of over-simplicity and sentimentality. Prosper Mérimé's story, Carmen, is actually a grim tale of 'low life', somewhat similar to the social level of Dickens' Bill and Nancy Sykes (Oliver Twist appeared in the year of Bizet's birth). Inevitably there had to be changes to adapt the story to the stage. And Bizet's inventions of the characters: Micaela and Escamillo, balanced and lightened the plot to the story we know and love today.

Its initial problems lay in the fact that it was not the 'correct' stage story for France during the years following the Franco-Prussian War, when moral laxities were coming under severe reproof; and musically it was more challenging than its contemporaries. On 3rd June, the night of the 31st performance (out of 45 declining attendances resulting from aggression by critics, musicians and audiences) Bizet died - aged 36. The exact cause of his death has been difficult to establish. One plausible conspiracy theory suggests that he died of a broken spirit engendered by the hostility he received about Carmen. One medical explanation is that it was possibly caused by a burst streptococcal abscess which infected his heart. Whatever the real reason, his death was a major blow to the French operatic scene, and of course to the music-world at large. What other wonders might he have produced?!

A few months later (in October) Carmen was re-launched in Vienna. This was the start of a highly successful world-wide run from which it, and Bizet's reputation, never looked back.

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2. Carmen - A Synopsis

The opera is set in and around Seville³ in 1820.

Act I starts in a square in Seville. On one side of the square is the guardhouse for the local garrison of Dragoons. Outside the guardhouse is an officer, Morales, with his soldiers of the guard, watching the world go by. On the other side of the square is a tobacco factory full of attractive girls (backstage at this point). Among the passers-by the soldiers notice Micaela, a shy country maiden, looking out for a soldier. The soldiers try to flirt with her but she is only interested in one: Don José. She is bringing him a message (and a kiss) from his mother back home. However, she leaves the square to evade the other soldiers' attentions.

The relief guard appears, with corporal Don José, and his captain (in some versions lieutenant) Zuniga, in charge of the guard-duties. The changing of the guard is mimicked in a masterstroke children's Ragamuffin Marching Chorus. Don José is then informed about Micaela's visit. A noon-day bell signals the end of the tobacco factory shift, and the factory girls, including a beautiful, bold, heartless, fickle Gypsy-girl, the eponymous⁴ heroine Carmen, appear. There is much flirting between soldiers, other local young gallants, and the factory girls; and Carmen sings the famous Habanera. Mischievously and with a passionate glance, she tosses a flower at the unsuspecting Don José. But he only has eyes for Micaela. However, taken by surprise and flattered at this amorous advance, he secretes it in his jacket, triggering an unstoppable sequence of tragic events for them both. Micaela reappears;  he reads his mother's letter and they sing a lovely duet in which she imparts his Mother's Love (and her own) to Don José.

Meanwhile Carmen is involved in a fight with another factory girl, seriously wounding her with a knife. She is arrested and Don José is ordered to escort her to prison. Whilst in prison she works her passionate wiles on Don José with the promise of a Seguidilla Dance and love, and persuades him to set her free for romantic favours. He, enticed from his irresolute intentions, agrees, she flees, and he is imprisoned and is stripped of his rank for his folly!

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First Entr'acte

Act II is set in the evening outside Lillas Pastia's tavern in a favourite suburban resort of smugglers - of whom Carmen is a faithful ally - with much Gypsy Song and Dance. Here she has agreed to meet with Don José. But Don José's boss, captain Zuniga is now also infatuated with Carmen, who is enjoying his company (more trouble). At this point the bullfighter (Toreador) Escamillo enters, and sings the famous Toreador's Song. He too makes a pass at Carmen (she's establishing herself as quite a girl isn't she?), but he is also put on hold in favour of the eagerly awaited Don José.

The gypsies and Pastia are now plotting a smuggling escapade, and need the girls', including Carmen's, assistance. Carmen, however, declines as she is smitten with Don José, after his 'sacrifice' for her in prison. But their meeting is fraught. She Gypsy Dances and Sings specially for him, but the retreat to barracks bugle-call affects the still loyal Don José and they quarrel. In spite of his appeal to her in the Flower Song, she now shows her open disdain of him. When Captain Ziniga arrives for his new girlfriend the angry Don José draws his sword on him and is forced, as an open mutineer, to desert to the gypsies' camp.

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Second Entr'acte

Act III (Scene i) sees us in a wild mountain gorge with the gypsies and smugglers hauling contraband to the nearby city. Don José is trying his best to court Carmen but she is reluctant, causing him to resort to threats. She and her friends in true gypsy fashion consult the playing-cards. Her friends see only their future happiness, but Carmen is horrified when she draws the card of death! At this point the girls are directed to help with the contraband by distracting some customs officers, and Don José reluctantly and regretfully agrees to guard some of the bales. 

Micaela reappears in search of Don José. He fires his gun (this usually makes the audience jump!) over Micaela's head at an approaching stranger - causing Micaela to faint, but missing the target. This turns out to be Escamillo, who introduces himself as Carmen's lover! Don José's caution turns to hatred, and a fight ensues, but Carmen's friends intervene. A relieved Escamillo invites them all the next bullfight in Seville. Micaela, on recovering, sings a beautiful little Air. She tells Don José that his mother is dying, and he leaves with a vow that he will be returning to claim Carmen. Escamillo, however, sure of his forthcoming romantic conquest, departs singing a reprise of the Toreador's Song.

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Third Entr'acte

Act III (Scene ii) is a colourful fiesta scene in another Seville square, in front of the ancient amphitheatre where the bull-fights are held, with street vendors and all manner of itinerant entertainers. Enter Escamillo with a radiant Carmen at his side. As part of the finale they sing a lovely little Duet. His place is now demanded in the bull-ring. Remaining behind, Carmen is warned that a dangerous Don José is lurking in the crowd. Unabashed, Carmen  confronts the pathetically pleading Don José who is still trying all within his power to persuade Carmen to join him. She is determined to remain free and throws his ring at his feet. As Escamillo's victory resounds from the bull-ring (noises off-stage) the totally distraught Don José stabs and kills Carmen.⁵ He then breaks down and gives himself up to face the ultimate penalty for his heinous crime. A tragic ending to the opera with suitably strong finale music.

Click on El Toro's tasty morsel to get a taste of our MusicSmiles Carmen opening: - 3 Micro-Masterpieces.

Footnote 1.    Further details may be obtained in our MusicSmiles bibliography. Return to story.

Footnote 3.  Seville (Sevilla in Spanish) has been described as a city of flowers and fiestas. (See details in our MusicSmiles bibliography.) The Andalusian capital, situated in the South of Spain, has served as an important inland port on the Guadalquivir river. As visitors will tell you it is just as one imagines a Spanish city - bright, sunny, colourful, bursting with joy and bustle and exotic smells of fruits and flowers. It trades in the produce of Andalusia, particularly oranges. It also rings with the music of fiestas - such as the annual Feria de Abril (the April Fair) or religious  processions (for example - in Easter Week). It teems with historic buildings - from Roman to Moorish, many of which are now World Heritage Sites. Its cathedral is possibly the world's largest Gothic building, containing the work of great Spanish artists including Murillo and El Greco. And nearby is the Giralda - a Moorish 300 feet high minaret, built when Seville was the capital of an Arab kingdom. Nearby are natural treasures such as the Doñana and the Sierra Norte Nature Reserves. Altogether a more than interesting historical Spanish city. Return to story.

Footnote 4.  According to our dictionary eponymous means a character who gives his(her) name to the title of a play or show. 'Bull****!!' Pardon! What did you say Scribe? 'Bull. Epiglottimus, Epauleticus, you're just showing off with your knowledge.'  Well, we apologise if that's what visitors feel. However, maybe they like a little reminder about these lesser used things now and again. 'Euphoricus Europlatypus! Hmmmrr!!'  OK, OK, no need to grind your teeth Scribe. But then, maybe we did know it all along. Perhaps?! Return to story.

Footnote 5.  A memorable but rather savage ending to the opera! In our Village Singers' (and many others - see our MusicSmiles bibliography) concert version of the opera, after 'killing off' Carmen, we grand-finaléd with a solo-and-chorus arrangement of the Toreador's song. So, with the full treatment rather than to the strains of . . . this successfully finished the concert on a rousing and brighter note. (With apologies to Bizet et al)  Return to story.

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