Bizet: Carmen
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Music CD Cover
Performer: Jos? van DamComposer: Georges Bizet
Conductor: Herbert von Karajan
Performer: Berliner Philharmoniker
Orchestra: Berliner Philharmoniker
Performer: Katia Ricciarelli
Performer: Heinz Zednik
Performer: Jos? Carreras
Performer: Agnes Baltsa
Performer: Alain Pilard
Performer: Alexander Malta
Performer: Anne-Marie Tostain
Performer: Christine Babaux
Performer: Christine Barbaux
Performer: Gino Quilico
Performer: Jane Berbie
Edition: Music CD
CD Release Date: 1983-11-17
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
- Carmen: Prelude - G. Bizet
- Carmen: Act 1 - Introduction : 'Sur la place chacun passe' (Les Soldats, Morales) - G. Bizet
- Carmen: Act 1: 'Que cherchez-vous, la belle?' (Morales, Micaela, Les Soldats) - G. Bizet
- Carmen: Act 1: Marche et Choeur des gamins : 'Avec la garde montante' (Choeur des gamins) - G. Bizet
- Carmen: Act 1: 'Halte! Repos!' - 'Une jolie fille est venue' (Zuniga, Morales, Don Jose, Le lieutenant de la garde descendante) - G. Bizet
- Carmen: Act 1: 'Et la garde descendante' (Choeur des gamins) - G. Bizet
- Carmen: Act 1: Dites-moi, brigadier' (Zuniga, Don Jose) - G. Bizet
- Carmen: Act 1: Choeur et Scene 'La cloche a sonne' (Les jeunes gens, Les soldats) - G. Bizet
- Carmen: Act 1: 'Dans l'air, nous suivons des yeux la fumee' (Les cigarieres, Les jeunes gens) - G. Bizet
- Carmen: Act 1: 'Mais nous ne voyons pas la Carmencita?' (Les soldats, Les jeunes gens) - G. Bizet
- Carmen: Act 1: 'Quand je vous aimerai?' - Havanaise : 'L'amour est un oiseau rebelle' (Carmen) - G. Bizet
- Carmen: Act 1: Scene : 'Carmen, sur tes pas nous nous pressons tous!' Les jeunes gens, Les cigarieres) - G. Bizet
- Carmen: Act 1: 'Monsieur le brigadier?' (Micaela, Don Jose) - Duo : 'Parle-moi de ma mere!' (Don Jose, Micaela) - G. Bizet
- Carmen: Act 1: Votre mere avec moi sortait de la chapelle' (Micaela, Don Jose) - G. Bizet
- Carmen: Act 1: 'Ma mere, je la vois! ...' (Don Jose, Micaela) - G. Bizet
- Carmen: Act 1: 'Tu la verras! Eh bien!' (Don Jose, Micaela) - G. Bizet
- Carmen: Act 1: Choeur : 'Au secours!' (Les cigarieres, Zuniga, Les Soldats) - G. Bizet
- Carmen: Act 1: 'Ah! enfin! un peu de silence!' (Zuniga, Don Jose, Carmen) - G. Bizet
- Carmen: Act 1: Chanson et Melodrame : 'Avez-vous quelque chose a repondre?' (Zuniga) - 'Tra la la la...' (Carmen, Zuniga, Choeur, Un soldat) - G. Bizet
- Carmen: Act 1: 'Vous etes si jeune, seigneur officier' (Carmen, Don Jose) - G. Bizet
- Carmen: Act 1: Chanson et Duo : 'Pres des remparts de Seville' (Carmen, Don Jose) - G. Bizet
- Carmen: Act 1: Final : 'Le lieutenant! Prenez garde...' (Don Jose, Zuniga, Carmen) - G. Bizet
- Carmen: Entr'acte - Georges Bizet
- Carmen: Act 2: Chanson : 'Les tringles des sistres tintaient' (Carmen, Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 2: 'Vous avez quelque chose a nous dire...?' (Zuniga, Pastia, Andres, Frasquita, Carmen) - Georges Bizet
- Carmen: Act 2: Choeur et Ensemble : 'Vivat! vivat le Torero!' (Les amis d'Escamillo, Zuniga, Mercedes, Andres, Frasquita, Pastia) - Georges Bizet
- Carmen: Act 2: Couplets :' Votre toast, je peux vous le rendre' (Escamillo, Choeur) - Georges Bizet
- Carmen: Act 2: 'Messieurs les officiers, je vous en supplie' (Pastia, Zuniga, Escamillo, Carmen, Choeur, Frasquita, Le Dancaire) - Georges Bizet
- Carmen: Act 2: Quintette : 'Nous avons en tete une affaire!' (Le Dancaire, Frasquita, Mercedes, Le Remendado, Carmen) - Georges Bizet
- Carmen: Act 2: 'En voila assez' (Le Dancaire, Carmen, Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 2: Chanson : 'Halte-la! Qui va la?' (Don Jose, Mercedes, Frasquita, Le dancaire, Carmen) - Georges Bizet
- Carmen: Act 2: 'Enfin...Tu as mis le temps!' (Carmen, Don Jose) - Georges Bizet
- Carmen: Act 2: Duo : 'Je vais danser en votre honneur' (Carmen, Don Jose) - Georges Bizet
- Carmen: Act 2: 'La fleur que tu m'avais jetee' (Don Jose) - Georges Bizet
- Carmen: Act 2: 'Non, tu ne m'aimes pas!' (Carmen, Don Jose) - Georges Bizet
- Carmen: Act 2: Final : 'Hola! Carmen! Hola!' (Zuniga, Don Jose, Carmen, Le Remendado, Le Dancaire, Les Bohemiens) - Georges Bizet
- Carmen: Act 2: 'Suis-nous a travers la campagne' (Frasquita, Mercedes, Carmen, Le Dancair, Le Remendado, Les bohemiannes, Les bohemiens) - Georges Bizet
- Carmen: Act 2: Entr'acte - Georges Bizet
- Carmen: Act 3: Scene 1: Introduction : 'Ecoute, compagnon, ecoute!' (Les contrabandiers, Frasquita, Mercedes, Carmen, Don Jose, Le Dancaire, Le Remendado) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Carmen, ne me fuis pas ...' (Don Jose, Carmen) - Georges Bizet
- Carmen: Act 3: Scene 1: Trio : 'Melons! Coupons!' (Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Carreau! Pique!...La Mort!' (Carmen) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Parlez encore, parlez' (Frasquita, Mercedes, Carmen) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Alerte!!!' (Le Dancaire, Carmen, Frasquita, Mercedes, Don Jose) - Morceau d'Ensemble : 'Quant au douanier, c'est notre affaire!' (Frasquita, Mercedes, Carmen, Les bohemiennes, Le Dancaire, Le Remendado, Les bohemiens) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Nous y sommes, petite ...' (Le Guide, Micaela) - Georges Bizet
- Carmen: Act 3: Scene 1: Air : 'Je dis que rien ne m'epouvante' (Micaela) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Mais... je ne me trompe pas...' (Micaela, Escamillo, Don Jose) - Georges Bizet
- Carmen: Act 3: Scene 1: Duo : 'Je suis Escamillo, Torero de Grenade!' (Escamillo, Don Jose) - Georges Bizet
- Carmen: Act 3: Scene 1: Final : 'Hola! hola! Jose!' (Carmen, Escamillo, Le Dancaire, Les contrebandiers, Les contrebandiers) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Halte! quelqu'un est la qui cherche a se cacher!' (Le Remendado, Carmen, Le Dancaire, Don Jose, Micaela, Frasquita, Mercedes, Les contrebandieres, Les contrebandieres, Escamillo) - Georges Bizet
- Carmen: Act 3: Scene 1: Entr'acte - Georges Bizet
- Carmen: Act 3: Scene 2: Choeur : 'A dos cuartos!' (Les marchandes, Les marchands, Zuniga, Une Marchande, Andres, Un Bohemien) - Georges Bizet
- Carmen: Act 3: Scene 2: 'Qu' avez-vous fait de la Carmencita?' (Zuniga, Frasquita, Andres, Mercedes) - Choeur et Scene : 'Les voici! les voici!' (Les enfants, Choeur) - Georges Bizet
- Carmen: Act 3: Scene 2: 'Si tu m'aimes, Carmen ...' (Escamillo, Carmen, Quatre alquazils, Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 3: Scene 2: Duo Final : 'C'est toi!' - 'C'est moi!' (Carmen, Don Jose, Choeur) - Georges Bizet
Free Music Notes for Bizet: Carmen
Free Music Review: Karajan's 2nd Carmen: His Best. Powerful!!!!
Hit: 5 Stars
Agnes Baltsa [Carmen] ** Jos? Carreras [Don Jos?] ** Jos? van Dam (baritone) [Escamillo] ** Katia Ricciarelli [Mica?la] ** Christine Barbaux (soprano) [Frasquita] ** Jane Berbi? (soprano) [Merc?d?s] ** Alexander Malta (bass) [Zuniga] ** Mikael Melbye (baritone) [Moral?s] ** Gino Quilico (baritone) [Le Danca?r] ** Heinz Zednik (tenor) [Le Remendado] ** Michel Marinpouille (tenor) [Andr?s] ** Berlin Philharmonic ** Herbert von Karajan (conductor]
There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.
Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.
Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.
From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.
Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.
Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.
Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.
Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.
Bizet: Carmen Poster
If you're going to start with one opera, make it Carmen. It's full of memorable melodies, fascinating situations, and gripping drama. Herbert von Karajan and his colleagues give a polished account that revels in the beauty and color of the score. --Ted LibbeyThis is another one of those Herbert von Karajan dissections, in which every separate scene in the opera appears to be the only scene: it's all so intensely led, with each instrument audible, every tempo change made (although for the most part, this is a very slow outing), and every dynamic notation observed. A pity, too, since with a less-obsessed conductor, Agnes Baltsa's gutsy Carmen wouldn't seem so underlined and Jos? Carreras's Don Jos?, recorded after his prime, wouldn't be so clearly after his prime. He's ardent--indeed, almost hysterical--but the voice is under severe pressure even without the slow-motion leadership. Jos? van Dam seems indomitable as Escamillo, but Katia Ricciarelli forces wearily and eventually sounds bored. Bizet would be puzzled; listeners should stick to Callas. --Robert Levine
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