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This solo, entitled Seguidilla¹ and Duet (well, it incorporates a duet really in the opera - but we've arranged it as a solo in MusicSmiles) is another magnificent show stopper. Set in the key of B minor, the strict 3/8 tempo with its scintillating tune, erotically enticing lyrics, and seductive rallentandos (slow-downs), also make it an attractive concert item for the coloratura soprano. We've known performances where you could 'hear a pin drop' when this was well-sung. And the last note is - yes, you've guessed it - a top B natural above the stave (a very high note!).

The pronunciation is compounded with theories, French, English or Spanish, all have a thought or two on this subject. We have always thought of it as 'sequadeela' (with a soft sound for the second syllable) but other pronunciations include: 'segadeelia', 'segwadeelia', and 'sequadeeya' (a liquid L sound). In an operatic scene about a Spanish dance sung in French this is something to ponder on! We're going for Sequadeela - experts please comment.

Sung by Carmen to Don Josè when he is guarding her in her gaol cell, she uses it to seduce him and hence secure her freedom. She succeeds. He is only human! And thereby hangs the drama and tragedy of the whole opera!

Voila, here it is then; first in the original French, and then in an English translation:-

Seguadilla
(Lovely 12 bar introduction)

Près-des-rem-parts de Sé-vil-le,
Chez mon a-mi Li-las Pas-tia
J'i-rai dan-ser la Sé-gue-dille
Et boi-re du Man-za-nil-la . . .
J'i rai chez-mon a-mi Lil-las Pas-tia . . .

(7 bars interlude)

Oui, mais tou-te seule on s'en-nui-e,
Et les vrais plai-sirs son à deux;
Donc, pour me te-nir compa-gnie,
J'em-mèn-ne-rai mon a-moureux! . . .

(laughing) Mon a-moureux
Il est au dia-ble,
Je l'ai mis à la por-te hier!
Mon pou-vre coeur très con-so-la-ble,
Mon coeur est li-bre Com-me l'aire!
J'ai des ga-lants à la douzai-ne,
Mais ils ne sont pas à mon gré.
Voi-ci la fin de la se-mai-ne:
Qui vent m'ai-mer? je l'ai-me-rai!

Qui vent mon à . .me . .?
Elle-est à pren-dre?
Vous ar-ri-vez au bon mo-ment!
Je n'ai guè-re le temps d'at-ten-dre,
Car a-vec mon nou-vel a-mant . . .

Près-des-rem-parts de Sé-vil-le,
Chez mon a-mi Li-las Pas-tia
J'i-rai dan-ser la Sé-gue-dille
Et boi-re du Man-za-nil-la . . . .

Tra la la la la la la la la la la . . . . .
Tra la la la la la la la la la la.

Maintenant, again in ze English translation, n'est-ce pas?

Seguadilla
(Again, lovely 12 bar introduction)

Close to the wall of Se-vil . .la,
I know a certain old tavern.
I go there to dance Seguidilla
And to drink Manzanilla . . .
At the inn of Lillas Pastia.

(7 bars interlude)

But when a girl goes there to dance,
She wants to have some company.
So - I don't want to take a chance,
I'll take the man I love with me . . . .

(laughing) man I love.
What am I saying?
I told him yesterday we're through.
My heart is free, longing for someone new.
There are so many who adore me,
But I don't care for anyone.
With one whole Sunday free before me,
Who wants my love? He'll be the one.

Who wants my heart . .?
Who comes to claim it?
Here is your chance,
It still is free.
You can have it for the asking.
With my new love I'm on my way . . . .

Close to the wall of Se-vil . .la,
I know a certain old tavern.
I go there to dance Seguidilla
And to drink Manzanilla . . .

Tra la la la la la la la la la la . . . . .
Tra la la la la la la la la la la.

Now we have to say that this is possibly the favourite Carmen song of one of the MusicSmiles team. It is a very catchy tune isn't it? And the words have a certain human frankness about them. By the way, did we catch you dancing round the room to it? Well, good for you, that's what it's all about!!

Next, the world-famous and seductive - Habanera?

Footnote 1:    In our dictionaries the Seguidilla is described as a Spanish national dance, or an Andalusian dance, in simple triple time (there are, however, many regional variations). The origins are uncertain but certainly go back as far as the 16th century. Three varieties are described: 1) lively - Manchegas;  2) stately - Boleras;  and 3) slow, sentimental - Gitanas. Georges' Seguidilla possibly fits into the first category. The participants, the dictionaries state, invariably interpolate vocal passages in short lines of alternately 5 and 7 syllables called coplas - with assonance (agreement of vowels) rather than rhyming. Castanets and guitars are usually used to accompany the dance, you may be able to detect suggestions of these in Georges' musical score. Click to return to story.

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