Classical Music Composer Georges Bizet - Classical Music Carmen Les torreadors

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Classical Music Composer: Georges Bizet

Carmen - Les torreadors

Georges Bizet (25 October 1838 – 3 June 1875) was a French composer and pianist of the Romantic era. He is best known for the opera Carmen.

Life and career in classical music

Bizet was born at 26 rue de la Tour d'Auvergne in the 9th arrondissement of Paris in 1838. He was named Georges Alexandre César Léopold Bizet, but he was always known thereafter as Georges Bizet. His father Adolphe Armand Bizet (1810-86) was an amateur singer and composer, and his mother, Aimée Léopoldine Joséphine née Delsarte (1814-61), was the sister of the noted singing teacher François Delsarte.

He entered the Paris Conservatory of Music on 9 October 1848, a fortnight before his tenth birthday. His teachers there were Pierre Zimmermann (fugue and counterpoint; often assisted by his son-in-law Charles Gounod), Antoine François Marmontel (piano), François Benoist (organ) and, on Zimmermann's death, Fromental Halévy, whose daughter Bizet later married. He won first prizes for organ and fugue in 1855, and he completed his earliest compositions there.

Bizet's first symphony, the Symphony in C, was written in November 1855, when he was seventeen, evidently as a student assignment. It was unknown to the world until 1933, when it was discovered in the archives of the Paris Conservatory library Upon its first performance in 1935, it was immediately hailed as a junior masterwork and a welcome addition to the early Romantic period repertoire. The symphony bears a stylistic resemblance to the first symphony of Gounod, first played earlier in the same year, and which Bizet had arranged for two pianos although present-day listeners may discern a similarity to music of Franz Schubert, whose work was little known in France at the time the symphony was written.

In 1857, a setting of the one-act operetta Le docteur Miracle won him a share in a prize offered by Jacques Offenbach. He also won the music composition scholarship of the Prix de Rome, the conditions of which required him to study in Rome for three years. There, his talent developed as he wrote such works as the opera buffa Don Procopio (1858-59). There he also composed his only major sacred work, Te Deum (1858), which he submitted to the Prix Rodrigues competition, a contest for Prix de Rome winners only. Bizet failed to win the Prix Rodrigues, and the Te Deum score remained unpublished until 1971. He made two attempts to write another symphony in 1859, but destroyed the manuscripts in December of that year. Apart from this period in Rome, Bizet lived in the Paris area all his life.

Shortly after leaving Rome in July 1860, but while still touring in Italy, he had the idea of writing a symphony in which each of the four movements would be a musical evocation of a different Italian city – Rome, Venice, Florence and Naples. On hearing of his mother's serious illness he cut short his Italian travels and returned to Paris in September 1860; she died a year later. The Scherzo of the symphony was completed by November 1861, but it was not until 1866 that the first version of the whole symphony was written. He subjected it to a number of revisions through to 1871, but died before ever producing what he considered the definitive version. For this reason, the work is sometimes described as "unfinished", but this is an inaccurate description as it was fully scored. It was published in 1880 as the Roma Symphony.

In June 1862 the Bizet family's maid, Marie Reiter, gave birth to a son, Jean Bizet. The boy was brought up to believe that his father was Adolphe Bizet, and that he was Georges's half-brother, but his mother later revealed that his true father was Georges Bizet. His former teacher Halévy died in 1862, leaving his last opera Noé unfinished. Bizet completed it, but it was not performed until 1885, ten years after Bizet's own death.

Bizet composed the opera Les pêcheurs de perles (The Pearl Fishers), a drama of love and ritual in Ceylon (today's Sri Lanka) for the Théâtre Lyrique in 1863, which was initially a failure. In 1866, Bizet was hired to arrange two of Ambroise Thomas's operas for both solo and duo piano. The works of his youth displayed his power of evoking exotic atmosphere such as La jolie fille de Perth (after Walter Scott's novel), which takes place in a romanticized Scotland (premiered also in the Théâtre Lyrique, in 1867), and a symphony titled Roma (1868). Although these operas were not overwhelmingly successful, they established Bizet's reputation as a composer to be reckoned with.

On 3 June 1869, Bizet married Geneviève Halévy (1849-1926), the daughter of his late teacher Fromental Halévy. At the outbreak of the Franco-Prussian War in July of 1870, Bizet joined the French National Guard, as did some other well-known composers. This delayed his progress on several works. The armistice of January 1871 was followed by a civil uprising, which resulted in a two-month period of bloodshed and unrest in Paris. Bizet and his wife fled to Le Vésinet near Paris, to escape the violence. From November 1871 until his death Bizet was a member of the Conservatoire examination committees for composition, counterpoint and fugue, and for piano and harp.

Bizet wrote Jeux d'enfants (Children's games) for piano duet in 1871. The following year (22 May 1872) saw the production of the one-act opéra comique Djamileh, which is often seen as a precursor to Carmen. He wrote incidental music for a play L'Arlésienne by Alphonse Daudet, first performed on 1 October 1872. Bizet derived a L'Arlésienne Suite from the music (first performed 10 November 1872), and Ernest Guiraud later arranged a second suite; both contain considerable rewriting of the original score (many performances of the second suite omit any mention of Guiraud's contribution). His overture Patrie was written in 1873 (it had no connection with Victorien Sardou's play Patrie!).

Carmen (1875) is Bizet's best-known work and is based on a novella of the same title written in 1846 by the French writer Prosper Mérimée. Bizet composed the title role for a mezzo-soprano. It was substantially composed during the summer of 1873, but not finished until the end of 1874, during which time his marriage came under severe strain and he separated from his wife for two months. Carmen premiered on 3 March 1875, at the Opéra-Comique in Paris, and was not initially well-received, although it ran for 37 performances in the next three months, an average of three a week; it was Bizet's greatest success so far. Bizet had put every ounce of his genius into Carmen, and its lukewarm reception was a bitter disappointment. Praise for it eventually came from well-known contemporaries including Debussy, Saint-Saëns and Tchaikovsky. Brahms attended over twenty performances of it, and considered it the greatest opera produced in Europe since the Franco-Prussian War. The views of these composers proved to be prophetic, as Carmen has since become one of the most popular works in the entire operatic repertoire. Carmen contains two of Bizet's most famous songs, the "Habanera" and "The Toreador's Song", which compete for popularity with the tenor-baritone duet "Au fond du temple saint" ("In the depths of the temple") from The Pearl Fishers.

However, Bizet did not live to see Carmen's success. He died from a heart attack at the age of 36 in Bougival (Yvelines), about 10 miles west of Paris. It has been suggested that Élie-Miriam Delaborde, who was believed to be the illegitimate son of Charles-Valentin Alkan, may have been indirectly responsible for Bizet's death, which followed a swimming competition between the two, as a result of which Bizet caught a chill. Murder or even suicide were suspected at the time, as what was described as a "gunshot wound" appeared to be on the left side of his neck. However, this was most likely a lymph node which swelled and perforated. He almost certainly died with a systemic streptococcal infection, consistent with his lifelong medical history.

Bizet died on his sixth wedding anniversary, exactly three months after Carmen's first performance. His death came just when he had found his mature style. He was buried in the Père Lachaise Cemetery in Paris, alongside other greats like Chopin and Rossini. Carmen was then immediately dropped by the Opéra-Comique. Yet within three years, it had made its way to Vienna, Brussels, London, New York City, and soon to Germany and Russia, also. Five years later, Carmen returned to Paris, where it was received rapturously and launched on its long-running success. Today it is one of the world's best-loved operas.

Classical Music Composer: Georges Bizet

Carmen - Les torreadors

Carmen is a French opéra comique by Georges Bizet. The libretto is by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée, first published in 1845, itself possibly influenced by the narrative poem The Gypsies (1824) by Alexander Pushkin. Mérimée had read the poem in Russian by 1840 and translated it into French in 1852.

The opera premiered at the Opéra-Comique of Paris on 3 March 1875, but its opening run was denounced by the majority of critics. It was almost withdrawn after its fourth or fifth performance, and although this was avoided, ultimately having 48 performances in its first run, it did little to bolster sagging receipts at the Opéra-Comique. Near the end of this run, the theatre was giving tickets away in order to stimulate attendance. Bizet died of a heart attack, aged 36, on 3 June 1875, never knowing how popular Carmen would become. In October 1875 it was produced in Vienna, to critical and popular success, which began its path to worldwide popularity. It was not staged again at the Opéra Comique until 1883.

Since the 1880s it has been one of the world's most performed operas and a staple of the operatic repertoire. Carmen appears as number four on Opera America's list of the 20 most-performed operas in North America.

Bizet's final opera not only transformed the opéra comique genre that had been static for half a century, it virtually killed it. Within a few years, the traditional distinction between opera (serious, heroic and declamatory) and opéra comique (light-hearted, bourgeois and conversational with spoken dialogue) disappeared. Moreover, Carmen nourished a movement that was to win both celebrity and notoriety first in Italy and then elsewhere: the cult of realism known as verismo.

The early death of Bizet and the negligence of his immediate heirs and publisher led, as with most of Bizet's operas, to major textual problems for which scholars and performers only began to find solutions since the 1960s.

The story is set in Seville, Spain, c. 1830, and concerns the eponymous Carmen, a beautiful Gypsy with a fiery temper. Free with her love, she woos the corporal Don José, an inexperienced soldier. Their relationship leads to his rejection of his former love, mutiny against his superior, and joining a gang of smugglers. His jealousy when she turns from him to the bullfighter Escamillo leads him to murder Carmen.

Act 1

A square in Seville. On the right a cigarette factory, on the left a guard house, with a bridge at the back.

Moralès and the soldiers loiter before the guard house commenting on passers-by ("Sur la place, chacun passe"). Micaëla appears seeking Don José, a corporal, but is told by Moralès that he is not yet on duty, so why does not she stay and wait with them? She runs away saying that she will return later. Zuniga and José arrive with the new guard, imitated by a crowd of street-children ("Avec la garde montante").

The factory bell rings and the cigarette girls emerge from the factory, greeted by young men who have gathered to flirt with them ("La cloche a sonné"). The girls enter smoking cigarettes, and finally Carmen appears, and all the men ask her when she will love them ("Quand je vous aimerai?"). She replies in the famous Habanera ("L'amour est un oiseau rebelle"): "Love is a rebellious bird that no one can tame ... He has never known law. If you don't love me I love you, if I love you watch yourself!". When they plead for her to choose a lover from among them, ("Carmen! sur tes pas, nous nous pressons tous!") she tears a bunch of cassia from her bodice and throws it at Don José, who has been ignoring her, before going back into the factory with the others. José is annoyed by her insolence.

Micaëla returns and gives him a letter —and a kiss— from his mother ("Parle-moi de ma mère!"). José longingly thinks of his home, and reading the letter sees that his mother wants him to return and get married. Micaëla is embarrassed and leaves, but Don José declares that he will marry her.

As soon as she leaves, screams are heard from the factory and the women run out, singing chaotically ("Au secours! Au secours!"). Don José and Zuniga find that Carmen has been fighting with another woman, and slashed her face with a knife. Zuniga asks Carmen if she has anything to say, but she replies impudently with a song ("Tra la la"). Zuniga instructs José to guard her while he writes out the warrant for prison. The women go back into the factory and the soldiers to the guardhouse. To escape, Carmen seduces José with a Seguidilla ("Près des remparts de Séville") about an evening she will spend with her next lover who is "only a corporal"; José gives in and unties her hands. Zuniga returns, and Carmen allows herself to be led away but turns, pushes José to the ground, and as laughing cigarette girls surround Zuniga, she escapes.

Act 2

Evening at Lillas Pastia's inn, tables scattered around; officers and gypsies relaxing after dinner

A month has passed. Carmen and her friends Frasquita and Mercédès sing and dance ("Les tringles des sistres tintaient"). Lillas Pastia is trying to get rid of the officers, so Zuniga invites Carmen and her friends to come with him to the theatre, but she can only think of José, who was demoted and has been in jail since letting her escape, and was released the day before.

The sound of a procession hailing Escamillo passes by outside, and the toreador is invited in ("Vivat, vivat le Toréro"). Escamillo sings the Toreador song ("Votre toast, je peux vous le rendre"), and flirts with Carmen, but Carmen tells him that for the time being he need not dream of being hers.

When everyone except Carmen, Frasquita and Mercédès have left, the smugglers Dancaïre and Remendado arrive and tell the girls of their plans to dispose of the contraband they have smuggled via Gibraltar (Quintet: "Nous avons en tête une affaire"). Carmen refuses to accompany them, saying to their amazement that she is in love.

As José's voice is heard ("Halte là!"), Dancaïre tells Carmen she must try to get Don José to join them. Alone together, José returns a gold coin Carmen had sent him in jail and she orders fruit and wine to be brought.
Carmen vexes him with stories of her dancing for the officers but then dances with castanets for him alone ("Je vais danser en votre honneur ... Lalala"). During her song the sound of bugles is heard calling the soldiers back to barracks.

Carmen's temper flares when José says he must leave, but he makes her listen by producing the flower she threw at him, which he kept while he was in prison and is proof of his love (the Flower Song—"La fleur que tu m'avais jetée"). Carmen is unmoved and asks him to join her gypsy life if he really loves her ("Non, tu ne m'aimes pas").

Her picture of a life of freedom tempts him but he finally refuses saying he will never be a deserter. He begins to leave when Zuniga enters hoping to find Carmen. Don José draws his sword on his superior officer, but before they can fight the smugglers burst in and disarm both of them. Zuniga is made a prisoner ("Bel officier") and José has no alternative but to flee with Carmen ("Suis-nous à travers la campagne").

Act 3

A wild and deserted rocky place at night

The smugglers along with Carmen and José are travelling with the contraband ("Écoute, écoute, compagnons"), but Carmen has grown tired of José, and does not conceal this, taunting him to return to his village.

Carmen, Frasquita and Mercédès read the cards ("Mêlons! Coupons!"): Frasquita and Mercédès foresee love and romance, wealth and luxury; but Carmen's cards foretell death for both her and José ("En vain pour éviter les réponses amères"). The smugglers ask the girls to come and charm the customs officers ("Quant au douanier, c'est notre affaire") and everyone goes off, leaving the jealous José to guard the goods.

Micaëla arrives with a guide seeking José. She sends the guide away and vows to take Don José away from Carmen ("Je dis que rien ne m'épouvante"). She sees José firing a gun, and hides in the rocks. It was Escamillo whom José had fired at, but when he arrives José welcomes him, until he says he is infatuated with Carmen and tells José the story of her affair with a soldier, not realising José is that soldier.

José challenges Escamillo to a knife-fight, but Escamillo fights defensively, infuriating José. They start again and José finds himself at the mercy of Escamillo who releases him, saying his trade is killing bulls, not men. The third time they fight Escamillo's knife breaks, but he is saved by the return of the smugglers and Carmen ("Holà, holà José"). Escamillo leaves, but invites Carmen and the smugglers to his next bullfight in Seville.

Remendado finds Micaëla hiding, and she tells José that his mother wishes to see him. Carmen mocks him and at first he refuses to go ("Non, je ne partirai pas!"), until Micaëla tells him that his mother is dying. Vowing that he will return to Carmen, he goes.

As he is leaving, Escamillo is heard singing in the distance. Carmen rushes to the sound of his voice, but José bars her way.

Act 4

A square in front of the arena at Seville: the day of a bull-fight; bustling activity

It is the day of the contest to which Escamillo invited the smugglers. The square is full of people, with merchants and gypsies selling their wares ("À deux cuartos!"). Zuniga, Frasquita and Mercédès are among the crowd and the girls tell Zuniga that Carmen is now with Escamillo.

The crowd and children sing and cheer on the procession as the cuadrilla arrive ("Les voici! voici la quadrille"). Carmen and Escamillo are greeted by the crowds and express their love, Carmen adding that she had never loved one so much ("Si tu m'aimes, Carmen").

After Escamillo has gone into the fight, Frasquita warns Carmen that José is in the crowd ("Carmen! Prends garde!"), but Carmen scorns their fears. Before she can enter the arena she is confronted by the desperate José ("C'est toi? C'est moi!").

He begs her to return his love and start a new life with him far away. She calmly replies that she loves him no longer and will not give way—free she was born and free she will die.

Cheers are heard from the bull-ring and Carmen tries to enter, but José bars her way. He asks her one last time to come back, but she scornfully throws back the ring that he gave to her ("Cette bague, autrefois").

He stabs her ("Eh bien, damnée") as Escamillo is acclaimed in the arena, to the strains of the chorus of the 'Toreador Song', she dies. Don José kneels in despair beside her. The spectators flock out of the arena and find José ("Ah! Carmen! ma Carmen adorée!"), confessing his guilt over her dead body.