Georges Bizet: Carmen - Baltsa, Carreras, Ramey - James Levine, Metropolitan Opera Chorus & Orchestra (1989) DVD
Carmen’s Synopsis
Written as an opera comique, Carmen’s story is told in four acts. Based on Prosper Mérimée’s novella from 1845, the plot is set in Seville and portrays the story of protagonist and tenor Don José, in a narrative of lust and obsession, as he is seduced by the alluring soprano and Spanish gypsy, Carmen.
Expressed through Carmen’s characters and Bizet’s exceptional music, Carmen was pioneering, changing the course of operatic history. Featuring expertly composed melodies, Carmen was an early form of realism in opera, a genre called verismo opera.
Act I
Opening on a town square in the centre of Seville, a group of soldiers are talking. Surrounded by townspeople, one of them, a young peasant girl named Micaëla, enquires about her love, corporal Don José. At the changing of the guard, José returns under the command of Lieutenant Zuniga and is informed that Micaëla is searching for him.
The bell rings in a nearby cigarette factory and a group of female workers emerge, headed by Carmen. Exceptionally beautiful, she flirts with the soldiers, but her attention is captured by Don José. Having ignored her, Carmen drops a flower in front of him. Reaching for it, José is enraptured by her beauty, even when Micaëla returns, bringing a letter from his mother.
His reads the letter, which requests that he marry Micaëla, when a fight starts abruptly in the factory. Seizing Carmen on Zuniga’s orders, José is instructed to escort her to prison. She entices José, persuading him to let her escape and he is subsequently arrested.
Act II
At a local tavern, Carmen and two friends, Frasquita and Mercédès, entertain the soldiers. Zuniga attempts to flirt with Carmen, followed by the triumphant bullfighter Escamillo. Carmen rejects them stating her heart is José’s. As they leave, two smugglers arrive and ask the women to assist with their latest plan. While Frasquita and Mercédès agree, Carmen refuses and awaits José’s imminent arrival.
The smugglers depart and José returns. Carmen is delighted and dances for him until the barrack’s bugle sounds. Readying to leave, Carmen teases his obedience and tells José to prove his love by living freely. Just as he refuses, Zuniga arrives in a rage and demands his return. In a fit of jealousy, José defies him. Instead, the smugglers reappear, restrain Zuniga, and José leaves with them.
Act III
At the smuggler’s hideaway, José begins to miss his former life. As a result, he argues with Carmen who declares she is no longer in love with him. Meanwhile, Frasquita and Mercédès read fortunes, forecasting love and luxury for themselves, but death for Carmen and José.
The smugglers discuss their scheme with the group and depart, leaving José to keep watch. During their absence, Micaëla arrives and hides, watching as Escamillo appears, declares his love for Carmen and quarrels with José. The smugglers return, stopping the fight and Micaëla makes her presence known. She begs José to come home, persuading him after revealing his mother is dying.
Act IV
In Seville, Escamillo arrives to an adoring crowd for his latest bullfight and is joined by Carmen as he enters the arena. Frasquita and Mercédès warn Carmen of José’s presence, rage and jealousy. Carmen decides to face him and put the matter to rest.
José pleads with Carmen, begging her to declare her love and commitment. He asks her to leave with him but she refuses, stating that her heart no longer belongs to him and throwing his ring to the ground. Enraged, José takes his dagger and pierces Carmen’s heart. She dies tragically as the sounds of Escamillo’s victory erupt from the arena.
Tracklist
01 Opening Credits (Original Version)
02 Overture Prelude (Original Version)
03 Sur la place, chacun passe Les Soldats, Moralès (Act 1)
04 Regardez donc cette petite Moralès, Les Soldats, Micaëla (Act 1)
05 Avec la garde montante Choeur des Gamins (Act 1)
06 Filez, filez, vite, vite (Act 1)
07 La cloche a sonne Les Jeunes Gens, Les Soldats, Les Cigarières (Act 1)
08 Mais nous ne voyons pas la Carmencita Les Soldats, Les Jeunes Gens (Act 1)
09 "L'amour est un oiseau rebelle" Havanaise (Act 1)
10 Scène: "Carmen, sur tes pas nous nous pressons tous!" (Act 1)
11 Quels regards! Quel effronterie! (Act 1)
12 "Parle-moi de ma mère!" - "Attends un peu maintenant" (Act 1)
13 Choeur: "Au secours!" (Act 1)
14 "Voyons, brigadier.." (Act 1)
15 Tra la la la ... (Act 1)
16 "Ou me conduirez-vous?" (Act 1)
17 Chanson et Duo: "Près des remparts de Seville" (Act 1)
18 Voici l'ordre; partez... (Act 1)
19 Entracte between Act I & II (Original Version)
20 Les tringles des sistres tintaient Carmen, Mercédès, Frasquita (Act 2)
21 "Allons, messieurs, messieurs"-"Vivat! vivat le torero (Act 2)
22 Couplets: "Votre toast, je peux vous le rendre" (Act 2) : Toreador song
23 "Allons, messieurs.." - "Toreador, en garde!" - "Pour- quoi etais-tu si pressé de les voir partir?" (Act 2)
24 Quintette: "Nous avons en tete une affaire!" (Act 2)
25 "Amoureuse..." - "Halte-la! Qui ve la?" (Act 2)
26 Enfin ... Tu as mis le temps! (Act 2)
27 Je vais danser en votre honneur Carmen, Don Jose (Act 2)
28 La fleur que tu m'avais jetée (Don José) (Act 2)
29 Non, tu ne m'aimes pas! (Carmen, Don José) (Act 2)
30 Hola! Carmen! Hola! Zuniga, (Don José, Carmen, Dancaire, Remendado, Les Bohemiens) (Act 2)
31 Entr'acte (Act 2)
32 ecoute, compagnon, ecoute! les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaire, Remendado (Act 3)
33 Halte! nous allons nous arreter ici! Dancaire, Remendado, Don José, Carmen (Act 3)
34 "Melons!" / "Melons!" / "Coupons!" Frasquita, Mercédès (Act 3)
35 "Voyons, que j'essaie a mon tour.." - "Eh bien, nous avons apercu" (Act 3)
36 Quant au douanier, c'est notre affaire! Carmen, Mercédès, Frasquita, Les Bohemiennes, Les Bohemiens, Dancaire,)
37 Nous y sommes Le Guide, Micaëla (Act 3)
38 Je dis que rien ne m'epouvante Micaëla (Act 3)
39 "Mais... je ne me trompe pas..." - "Je suis Escamillo, torero de Grenade." Micaëla, Escamillo, Don Jose / Escamillo,)
40 Hola, Jose! Carmen, Escamillo, Dancaire, Don Jose, Les Contrebandiers, Les Contrebandieres (Act 3)
41 Entr'acte Between Acts Iii & Iv (Act 3)
42 A deux cuartos! (Act 4)
43 Les voici, les voici (Act 4)
44 Si tu m'aimes, Carmen (Act 4)
45 C'est toi! - C'est moi! (Act 4)
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Verdi: La Traviata
Libretto
Roles
Violetta Valéry, a courtesan - soprano
Alfredo Germont, a young bourgeois from a provincial family - tenor
Giorgio Germont, Alfredo's father - baritone
Flora Bervoix, Violetta's friend - mezzo-soprano
Annina, Violetta's maid - soprano
Gastone, Alfredo's friend - tenor
Barone Douphol, Violetta's lover, a rival of Alfredo - baritone
Marchese d'Obigny - bass
Dottore Grenvil - bass
Giuseppe, Violetta's servant - tenor
Flora's servant - bass G. Tona
Commissioner - bass
Violetta, at a party in her house, is moved to learn that the young Alfredo Germont is in love with her. There are, however, hints already that she is suffering from consumption. They set up house together in the country, but Violetta secretly sells her jewels to meet the expenses they now incur. Alfredo learns of this from Violetta's maid, Annina, and goes to Paris to raise money. In his absence his father arrives, seeking to persuade Violetta to leave Alfredo, whose behaviour prejudices the marriage chances of his sister, as well as his own prospects. Violetta sacrifices her own feelings and accepts an invitation from her friend Flora Bervoix which will take her back to her old life, now under the protection of Baron Douphol. She leaves a note for Alfredo, telling him of her decision, while old Germont tries to comfort his son, without revealing anything of Violetta's true motives. Alfredo then bursts into the party at Flora's house and insults Violetta, whom he finds with her new protector. She falls back, fainting, as the second act closes. In the third act Violetta is at home, near to death. Germont has told his son of the sacrifice she had made, and Alfredo now returns, holding her in his arms as she dies.
La traviata (The Fallen Woman) is one of those operas that has retained a firm position in current repertoire, never failing in its effect. The prelude to the first act uses the tender and melancholy music that will later precede Violetta's death, as well as her plea to him to love her. The first of these returns in the Prelude to the third act. At Violetta's there is a lively drinking-song or Brindisi, Libiamo (Let us drink), led by Alfredo, and as the guests go into the next room, he declares his love for her In Un dì felice (One happy day). Her response to his declarations is heard in her later reflective Ah, fors'è lui (Ah perhaps it is he my heart desires). In the second act Alfredo considers the happiness that life with Violetta has brought him in De'miei bollenti spiriti (Fervent my dream of ecstasy). Germont's attempts to remind his son of their home, Di Provenza il mar, il suol (The sea, the land of Provence) have provided baritones with a moving aria, and there is later contrast in the masquerading gypsy and Spanish dances at the house of Flora Bervoix. There is, of course, much else in a work, which, although set in 1700, might equally be supposed to have a contemporary setting and relevance in the Paris of the 1850s, an element of realism less apparent in historical dramas of kings and princes.
Reference
▣ "E strano, e strano...Follie, follie...Sempre Libera"
- Callas, RAI Turin, Gabriele Santini (1953)
- Callas, La Scala, Carlo Maria Giulini (1955)
- Callas, Theatro San Carlos Lisbon, Franco Ghione (1958)
- Moffo, Rome Opera orchestra and chorus, Giuseppe Patanè (1968)
- Cotrubaș Bayerisches Staatsorchester, Carlos Kleiber (1976)
▣ "Teneste la promessa... Addio del passato"
- Callas, RAI Turin, Gabriele Santini (1953)
- Callas, La Scala , Carlo Maria Giulini (1955)
- Callas, Theatro San Carlos Lisbon, Franco Ghione (1958)
- Zeani, Orchestra del Maggio Musicale Fiorentino, Gianandrea Gavazzeni (1957)
- Tebaldi, Membri dell'Orchestra del Teatro alla Scala, Antonino Votto (????)
- Tebaldi, ... (1950's)
- Olivero, Concertgebouw Amsterdam, Fulvio Vernizzi (6 May 1967)
- Cotrubaș Bayerisches Staatsorchester, Carlos Kleiber (1976)
- Gheorghiu, Orchestra of the Royal Opera, Covent Garden, Sir Georg Solti (1994)
J. Strauss II - Wiener Blut - Hallstein, Kollo, Kusche, Koller & Anton Paulik (1971) Operetta
Tracklist
1. Wiener Blut : Einleitung: "In Den Jahren 1814 Und 1815 & Opening Credits
2. Wiener Blut : Erster Akt "Was HeißT Das, Der Graf Ist Nicht Zur Stelle?! ... Nr. 1a Entree: "Ich Such Ihn Dort"
3. Wiener Blut : "Hallo! Anna!"
4. Wiener Blut : "Hm! Die Schmecken!" Nr. 2 Duett: "Gruß Gott, Mein Liebes Kind"
5. Wiener Blut : "Ja, Was Zum Teufel Ist Denn Los?"
6. Wiener Blut : Nr.3 Duett: "Schreiben Wir Halt Dem Terutscherl"
7. Wiener Blut : Nr. 4 Duett: Wunsch Guten Morgen, Herr Von Josef"
8. Wiener Blut : "Also Josef, Wo Bleibt Denn"
9. Wiener Blut : Nr. 5 Finale I: "Des Landes Reuß-Greiz-Schleiz
10. Wiener Blut : "Freu Mich Unendlich, Sie Zu Sehn!"
11. Wiener Blut : "Es Hat Dem Grafen Nichts Genutzt"
12. Wiener Blut : Nr. 8: "Du Hier?" - "Jawohl!"
13. Wiener Blut : Zweiter Akt "Vorsicht! Vorsicht!" - Polonaise
14. Wiener Blut : "Oh, Da Steht Der Premierminister"
15. Wiener Blut : Nr. 7 Duett: "Das Eine Kann Ich Nicht Verzeihn ... Wiener Blut"
16. Wiener Blut : "Puh! Das Ist Wieder An Langer Tag" ... Nr. 9 Szene Und Duettino: "Du SußEs Zuckertauberl Mein"
17. Wiener Blut : "Da Bin Ich, Pepi!" ... "Geh, Schau, Mein Lieb`S Schatzerl"
18. Wiener Blut : "Gestatten, Gnadigste?" ... "Ach, Das Konnte Ihm Passen"
19. Wiener Blut : Nr. 8 Lied: "Als Ich Ward Ihr Mann" ... "Graf Zedlau!"
20. Wiener Blut : "Die Sind Wirklich Delikat!"
21. Wiener Blut : Tanz - "Wo Ist Denn Die Reuß-Greiz-Schleitzerin?
22. Wiener Blut : "Hubsch!" - "Ja."
23. Wiener Blut : Nr. 11 Finale Ii: "Ich Habe Gewonnen"
24. Wiener Blut : "Bei Uns In Wien"
25. Wiener Blut : Dritter Akt: "Sowas" - "Ja, Der Herr Kagler!" ... Nr. 12 Zwischenakts-Musik Und G`Stanzeln: "Geht`S Und Verkauft`S Mei G`Wand"
26. Wiener Blut : Nr. 13 Sextett: "Soll Ich Sie Suchen?"
27. Wiener Blut : "Hoppla!" ... "Wiener Blut"
11. "Es Hat Dem Grafen Nichts Genutzt"
15. Nr. 7 Duett: "Das Eine Kann Ich Nicht Verzeihn ... Wiener Blut"
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