1.0 - covermnopera.org/wp-content/uploads/transfer/Carmen-Guide.pdffull score (dover) vocal score (dover) dg cd (berganza, domingo) emi cd (callas, gedda) image dvd (eming, lima) tri-star

Opera Box

Teacher’s Guide

table of contents

Welcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Lesson Plan Unit Overview and Academic Standards . . . . . . . . . . . . . .2

Opera Box Content Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Reference/Tracking Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Lesson Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Synopsis and Musical Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Flow Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Georges Bizet – a biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Catalogue of Bizet’s Operas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Prosper Mérimée and His Novella . . . . . . . . . . . . . . . . . . . . . . . . . . .62

World Events in 1875 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

History of Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

History of Minnesota Opera, Repertoire . . . . . . . . . . . . . . . . . . . . . .76

The Standard Repertory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Elements of Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Glossary of Opera Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

Glossary of Musical Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Bibliography, Discography, Videography . . . . . . . . . . . . . . . . . . . . . .94

Word Search, Crossword Puzzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

GIACOMO PUCCININOVEMBER 6 – 14, 2004

GAETANO DONIZETTIMARCH 5 – 13, 2005

JOHN ADAMSMAY 14 – 22, 2005

FOR SEASON TICKETS, CALL 612.333.6669

GEORGES BIZETAPRIL 16 – 24, 2005

mmnnooppeerraa..oorrgg

Dear Educator,

Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educatorto teach students about the beauty of opera. This collection of material includes audio and video recordings, scores,reference books and a Teacher’s Guide.

The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and othereasily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the UnitOverview for a detailed explanation.

Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new,your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape thecontent for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide isintended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, includea name and number for future contact from teachers who might have questions regarding your lessons and to give creditfor your original ideas. You may leave lesson plans in the Opera Box or mail them in separately.

Before returning, please double check that everything has been assembled. The deposit money will be held until Ipersonally check that everything has been returned (i.e. CDs having been put back in the cases). Payment may be madeto the Minnesota Opera Education Department. All forms of payment are accepted.

Since opera is first and foremost a theatrical experience, it is strongly encouraged that attendance at a performance ofan opera be included. The Minnesota Opera offers Student Matinees and discounted group rate tickets to regularperformances. It is hoped that the Opera Box will be the first step into exploring opera, and attending will be the next.

I hope you enjoy these materials and find them helpful. If I can be of any assistance, please feel free to call or e-mail meany time.

Sincerely,

Jamie AndrewsCommunity Education [email protected] (phone)mnopera.orgimagineopera.org

introduction letter 1

620 North First Street, Minneapolis, MN 55401

Kevin Ramach, PRESIDENT AND GENERAL DIRECTORDale Johnson, ARTISTIC DIRECTOR

Carmen Opera Box

Lesson Plan Title Page with Related Academic Standards

lesson plans with related standards 2

lesson title minnesota academic national standardsstandards: arts k–12 for music education

1 – Life and Times of Georges Bizet Music 9.1.1.3.1Music 9.1.1.3.2Theater 9.1.1.4.2Music 9.4.1.3.1Music 9.4.1.3.2Theater 9.4.1.4.1Theater 9.4.1.4.2

8, 9

2 – Translating the text of the Habeñera Music 9.1.1.3.1Music 9.1.1.3.2Music 9.1.1.3.3Music 9.1.2.3.2Music 9.1.2.3.3Music 9.2.1.3.1Music 9.2.1.3.2Music 9.2.1.3.3Music 9.3.1.3.1Music 9.3.1.3.2Music 9.3.1.3.3Music 9.4.1.3.1Music 9.4.1.3.2

1, 3, 4, 6, 7, 8, 9

3 – “That was a great performance and I know why!” Music 9.1.3.3.1Music 9.1.3.3.2Theater 9.1.3.4.1Theater 9.1.3.4.2Music 9.4.1.3.1Music 9.4.1.3.2Theater 9.4.1.4.1Theater 9.4.1.4.2

6, 7, 8, 9

4 – Acting out scenes from Carmen Music 9.1.3.3.1Music 9.1.3.3.2Theater 9.1.3.4.1Theater 9.1.3.4.2

6, 7, 8, 9

5 – Conflicts of the characters of Carmen Theater 9.1.1.4.1Theater 9.1.1.4.2

8, 9

3lesson plans with related standards

lesson title minnesota academic national standardshigh standards for music education

6 – Interpretations of “Je vais danser…” (I willdance in your honor) duet from Carmen

6, 7, 8, 9

7 – Comparing and contrasting performancesof the Habañera and the Act IV finale

6, 7, 8, 9

8 – Bizet’s use of orchestra in Carmen Music 9.1.1.3.1Music 9.1.1.3.2

6, 7, 8, 9

9 – Persecution of the Gypsies Music 9.1.1.3.3Theater 9.1.1.4.3

8, 9

Music 9.1.3.3.1Music 9.1.3.3.2Theater 9.1.3.4.1Theater 9.1.3.4.2Music 9.4.1.3.1Music 9.4.1.3.2Theater 9.4.1.4.1Theater 9.4.1.4.2

Music 9.1.3.3.1Music 9.1.3.3.2Theater 9.1.3.4.1Theater 9.1.3.4.2Music 9.4.1.3.1Music 9.4.1.3.2Theater 9.4.1.4.1Theater 9.4.1.4.2


minnesota academic standards, arts k–12

The Minnesota Academic Standards in the Arts set the expectations for achievement in the arts for k–12 students inMinnesota. The standards are organized by grade band (k–3, 4–5, 6–8, 9–12) into four strands that foster thedevelopment of students’ artistic literacy.

The strands are as follows:i. Artistic Foundations2. Artistic Process: Create or Make3. Artistic Process: Perform or Present, and4. Artistic Process: Respond or Critique.

Each strand has one or more standards that can be implemented in the arts areas of dance, media arts, music, theaterand/or visual arts. The benchmarks for the standards in each arts area are designated by a five-digit code. In readingthe coding, please note that for code 0.3.1.5.2, the 0 refers to refers to the 0–3 (k–3) grade band, the 3 refers to theArtistic Process: Perform or Present strand, the 1 refers to the first (and only) standard for that strand, the 5 refers tothe fifth arts area (visual arts), and the 2 refers to the second benchmark for that standard.

See the Minnesota Department of Education website for more information: education.state.mn.us/mde

Grades 9–12strand: Artistic Foundations

standard 1: Demonstrate knowledge of the foundations of the arts area.arts area: Music

code: 9.1.1.3.1benchmark: Analyze how the elements of music including melody, rhythm,

harmony, dynamics, tone color, texture, form and their relatedconcepts are combined to communicate meaning in the creation of,performance of, or response to music.

9.1.1.3.2benchmark: Evaluate how the elements of music and related concepts such as

repetition, pattern, balance and emphasis are used in the creation of,performance of, or response to music.

9.1.1.3.3benchmark: Analyze how the characteristics of a variety of genres and styles

contribute to the creation of, performance of, or response to music.arts area: Theater

code: 9.1.1.4.1benchmark: Analyze how the elements of theater, including plot, theme,

character, language, sound and spectacle are combined tocommunicate meaning in the creation of, performance of, or responseto theater.

Opera Box Lesson Plans with Related Standards

The lessons in this Teacher Guide are aligned with the current Minnesota Academic Standards, Arts k–12, and theNational Standards for Music Education. It is not the intention of these lessons to completely satisfy the standards. Thislist only suggests how the standards and lesson objectives relate to each other.

9.1.1.4.2benchmark: Evaluate how forms such as musical theater, opera or melodrama, and

structures such as chronological or nonlinear are used in the creationof, performance of, or response to theater.

9.1.1.4.3benchmark: Evaluate how the characteristics of Western and non-Western styles,

such as Kabuki, Noh, Theater of the Absurd or classical contributeto the creation of, performance of, or response to theater.

arts area: Visual Artscode: 9.1.1.5.1

benchmark: Analyze how the elements of visual arts such as repetition, pattern,emphasis, contrast and balance are used in the creation of,presentation of, or response to visual artworks.

9.1.1.5.2benchmark: Evaluate how the principles of visual art such as repetition, pattern,

emphasis, contrast and balance are used in the creation of,presentation of, or response to visual artworks.

standard 2: Demonstrate knowledge of and use of the technical skills of the art form, integratingtechnology when applicable.

arts area: Musiccode: 9.1.2.3.1

benchmark: Read and notate music using standard notation system such ascomplex meters, extended ranges and expressive symbols, with andwithout the use of notation software in a variety of styles andcontexts.

9.1.2.3.2benchmark: Sing alone and in small and large groups (multi-part), or play an

instrument alone in and in small or large groups, a variety of musicusing characteristic tone, technique and expression.

9.1.2.3.3benchmark: Use electronic musical tools to record, mix, play back, accompany,

arrange or compose music.arts area: Theater

code: 9.1.2.4.1benchmark: Act by developing, communicating and sustaining character; or

design by conceptualizing and realizing artistic interpretations; ordirect by interpretations dramatic text and organizing andrehearsing for informal or formal productions.

9.1.2.5.1benchmark: Use technology for purposes of research, feedback, documentation or

production.arts area: Visual Arts

code: 9.1.2.5.1benchmark: Integrate the characteristics of the tools, materials and techniques of

a selected media in original artworks to support artistic purposes



standard 3: Demonstrate understanding of the personal, social, cultural and historical contexts thatinfluence the arts areas.


benchmark: Analyze how the personal, social, cultural and historical contextsinfluence the creation, interpretation or performance of musicincluding the contributions of Minnesota American Indian tribesand communities.

9.1.3.3.2benchmark: Synthesize and express an individual view of the meanings and

functions of music.arts area: Theater

code: 9.1.3.4.2benchmark: Analyze how the personal, social, cultural and historical contexts

influence the creation, interpretation or performance of musicincluding the contributions of Minnesota American Indian tribesand communities.


functions of theater.arts area: Visual Arts

code: 9.1.3.5.1benchmark: Analyze how the personal, social, cultural and historical contexts

influence the creation, interpretation or performance of musicincluding the contributions of Minnesota American Indian tribesand communities.


functions of visual arts.

strand 2: Artistic Process: Create or Makestandard 1: Create or make in a variety of contexts in the arts areas using the artistic foundations.


benchmark: Improvise, compose or arrange new musical compositions in avariety of styles and contexts using available technology to preservethe creations.

9.2.1.3.2benchmark: Revise a musical composition or arrangement based on artistic intent

and using multiple sources of critique and feedback.

9.2.1.3.3benchmark: Justify an artistic statement, including how audience and occasion

influence creative choices.arts area: Theater

code: 9.2.1.4.1benchmark: Create a single, complex work or multiple works in theater such as a

script, character or design.

9.2.1.4.2benchmark: Revise a creation based on artistic intent and using multiple sources

of critique and feedback.9.2.1.4.3

benchmark: Justify an artistic statement, including how audience and occasioninfluence creative choices.

strand 4: Artistic Process: Respond or Critiquestandard 1: Respond to or critique a variety of creations and performances using the artistic

foundations.arts area: Music

code: 9.4.1.3.1benchmark: Analyze, interpret and evaluate a variety of musical works of

performances by applying self-selected criteria within the traditionsof the art form.

9.4.1.3.2benchmark: Justify choices of self-selected criteria based on knowledge of how

criteria affect criticism.arts area: Theater

arts area: Theater9.4.1.4.1

benchmark: Analyze, interpret and evaluate a variety of works in theater byapplying self-selected criteria within the traditions of the art form.

9.4.1.4.2benchmark: Justify choices of self-selected criteria based on knowledge of how

criteria affect criticism.


national standards for music education

1 Singing, alone and with others, a varied repertoire of music.

2 Performing on instruments, alone and with others, a varied repertoire of music.

3 Improvising melodies, variations, and accompaniments.

4 Composing and arranging music within specified guidelines.

5 Reading and notating music.

6 Listening to, analyzing, and describing music.a analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describingthe uses of elements of music and expressive devices

b demonstrate extensive knowledge of the technical vocabulary of musicc identify and explain compositional devices and techniques used to provide unity, variety, tension and release ina musical work and give examples of other works that make similar uses of these devices and techniques

d demonstrate the ability to perceive and remember music events by describing in detail significant eventsoccurring in a given aural example

e compare ways in which musical materials are used in a given example relative to ways in which they areused in other works of the same genre or style

f analyze and describe uses of the elements of music in a given work that make it unique, interesting, andexpressive

7 Evaluating music and music performances.a evolve specific criteria for making informed, critical evaluations of the quality and the effectiveness ofperformances, compositions, arrangements, and improvisations and apply the criteria in their personalparticipation in music

b evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplarymodels

c evaluate a given musical work in terms of its aesthetic qualities and explain it to similar or exemplary models

8 Understanding relationships between music, the others arts, and disciplines outside the arts.a explain how elements, artistic processes, and organizational principles are used in similar and distinctive waysin the various arts and cite examples

b compare characteristics of two or more arts within a particular historical period or style and cite examples fromvarious cultures

c explain ways in which the principles and subject matter of various disciplines outside the arts are interrelatedwith those of music

d compare the uses of characteristic elements, artistic processes, and organizational principles among the arts indifferent historical periods and different cultures

e explain how the roles of creators, performers, and others involved in the production and presentation of thearts are similar to and different from one another in the various arts

9 Understanding music in relation to history and culture.


Opera Box Content List

Carmen

There is one (1) of each of the following items:

_____Carmen FULL SCORE (Dover)

_____Carmen VOCAL SCORE (Dover)

_____Carmen LIBRETTO (G. Schirmer)

_____CD Carmen (Callas/Gedda, emi Classics)

_____CD Carmen (Berganza/Domingo, Deutsche Grammophon)

_____dvd Carmen (Ewing/Lima, rm Arts)

_____dvd Carmen (Migenes/Domingo, Triumph Films)

_____BOOK English National Opera Guide #13 – Carmen

_____BOOK Opera Journey’s Mini Guide

_____BOOK Opera: Composers Works Performers by András Batta

_____Teacher’s Guide

The entire deposit will be withheld until all items are returned. Any damaged items will be charged to the renter forthe amount of the replacement. Thank you for using the Minnesota Opera’s Opera Box and teaching opera in yourclassroom.

content list 9

Reference/Tracking Guide

Carmen

This is a chart that coordinates each track or chapter number each CD or DVD in the Opera Box. The chart shows whereeach excerpt is in relation to the other recordings and where to find each section in the scores.

* Both CD and DVD recordings, with the exception of the Callas/Gedda EMI recording, are performances using the spoken dialogue.The full and vocal scores do not contain the spoken dialogue, but instead have sung recitative.

reference/tracking guide 10

full score(dover)

vocal score(dover)

dg cd(berganza,domingo)

emi cd(callas, gedda)

image dvd(eming, lima)

tri-star dvd(migenes,domingo)

page 3 page 1 track 1/1 track 1/1 track 2 track 2

page 14 page 4 track 1/2

page 17 page 5 track 1/2 track 3 track 3

page 26 page 10 track 1/3 track 4

page 43 page 21 track 1/4 track 1/3

page 44 page 21 track 5

track 1/5*(not in score)


track 1/7*(not in score)




page 83 page 43 track 1/10 track 1/6 track 5






act one act one act one act one act one act one

reference/tracking guide 11

full score

page 116

vocal score dg cd emi cd image dvd tri-star dvd

page 68 track 1/15




page 153 page 89 track 8 track 9



act two act two act two act two act two act two









page 277 page 184 cd2/track 1




page 297 page 199 track 15 track 16






treference/tracking guide 12

full score

act three

vocal score dg cd emi cd image dvd tri-star dvd

act three act three act three act three act three




track 3/3*

(not in score)track 19



page 385 page 271 track 3/5 track 20



track 3/7*

(not in score)– cut –

page 404 page 281 track 3/8 track 2/11 track 21 – cut –

page 421 page 299 track 3/9 track 2/12 – cut –


page 437 page 307 track 3/1i track 2/13 track 23 – cut –





act four act four act four act four act four act four





opera box lesson plans 13

Carmen Opera Box

lesson plan

title of lesson

Lesson 1: The Life and Times of Georges Bizet

objective(s )

Students will understand the life and culture of Georges Bizet.

material(s )

• Reference books about Bizet• RESEARCH CHECKLIST (see following page)• General reference books about 19th-century Europe (specifically France) (not in Opera Box)• Poster board of Power Point for student presentations (not in Opera Box)• Poster board (for class timeline) (not in Opera Box)

procedure(s)

(1) Divide class into groups and assign research topics related to Bizet. Direct the class to research their specifictopics and prepare a presentation based on their findings. The nature and scope of the presentations is thediscretion of the teacher.

Possible topics:– Political and social culture of France during Bizet’s lifetime– Scientific and technological achievements of the 19th century– Social life and class divisions of the 19th century– Artistic and musical life in France and Europe of the 19th century – “What was going on musically while Bizet was composing?”

(2) Offer some guided (in-class) research time with students. Depending on students’ ability to conduct research,additional guidance might be needed.

(3) Each group is to create a piece of the timeline poster that will be posted on the classroom wall. It is suggestedthat the teacher predetermine what form the timeline will take. For example, cut up pieces of poster board intosections, one for each topic. Mark the same year span on each section. Groups are to include 20 facts per section.

(4) Student groups will give oral presentations on their topic. Each group is also to create five questions based ontheir presentation that they feel are the most important. Questions are to be submitted to the teacher prior togiving the presentation. The rest of the class should take notes on each presentation for a class-constructed test.

(5) Put all questions together from each group and give test.

assessment(s)

Assign value for class participation and group cooperation. Also, each piece of the timeline must have a certainnumber of relevant points presented in a clean and clear manner.

14opera box lesson plans

THE LIFE AND TIMES OF GEORGES BIZET TIMELINE RESEARCH CHECKLIST

group members

topic

research checklist

Each item must be completed to earn full point value.

_____ List 20 facts related to the topic and how they relate to Bizet. _____ points

_____ Organize all facts into chronological order. _____ points

_____ Write 3 sentence descriptions of each fact to be put on timeline. _____ points

_____ Proofread all sentences prior to putting them on the timeline. _____ points

_____ Put each fact on the timeline for public display. _____ points

class presentation checklist

_____ Prepare an outline of class presentation. _____ points

_____ Based on this outline, create 5 questions that your group feels addressthe most important points of the presentation. _____ points

_____ Submit 5 questions to teacher prior to presentation. _____ points

_____ Assign speaking parts for each group member. _____ points

_____ Practice speech. _____ points

_____ Give presentation. _____ points

_____ Put piece of timeline on wall. _____ points

_____


Carmen Opera Box

lesson plan

title of lesson

Lesson 2: Translating the text of the Habañera

objective(s )

Students will learn the characteristics of an aria and experiment with translating those characteristics into othergenres.

material(s )

• Carmen CD (Berganza/Domingo, Deutsche Grammophon CD)• Carmen LIBRETTO text of “L’amour est un oiseau rebelle” (Habañera) (English National Opera Guide, PP. 66–67)

procedure(s)

(1) Play the Habañera (CD disc 1/track 10) excerpt for the class. They are to follow along with the translation fromthe libretto.

(2) After playing the excerpt, discuss the following points:• Does the music relate to the text?• How does (or doesn’t) the music relate to the text?• Does the text have any meaning in today’s society?• Is there a popular song that deals with the same emotions?

(3) Students, individually or as a group, are to take the text of the Habañera and put it into another genre. Forexample, students may choose to turn it into a rap, country and western or folk song.

(4) Students are to perform their work in front of the class.

(5) Discuss with the class which performances were successful and which were not. Include a discussion of theeffectiveness of the text separate from the music.

assessment(s)

Value will be put on the performance of the text in a new genre and class participation. See the TRANSLATING THEHABAÑERA TEXT RUBRIC (see following page).


criteria 4 3 2 1

creativityand

originality

clarity oftext

effectivenessof

accompaniment

Very unique! Youhave shown evidencethat you understandthe text and itsmeaning. Your pieceis very unique andstands out.

Good work. Youunderstand the textand its meaning.Your piece has someoriginality.

Fair. Your pieceshows that youtried, but you couldhave used moreeffort.

Poor. Did you eventry? Shows nothought or insightinto the text andhow to translate thatinto another genre.

Crystal clear! Theaudience understoodeverything and themeaning was notlost. Very effective.

The text camethrough for most ofyour piece. Theaudience could followmost of the text andyou conveyed itsmeaning.

Slightlyunderstandable. Therewere a few times thatthe audience couldunderstand the text.Much of the originalmeaning was lost.

Were you speakingEnglish? Theaudience could notunderstand what youwere singing. Lostall original meaning.

Very effective!The accompanimentenhanced themeaning of the text.It did not distractthe audience in anyway.

The accompanimenthelped convey themeaning of the text.It did not distractthe audience.

Acceptable. Theaccompanimentslightly distractedthe audience fromunderstanding themeaning.

Was there any? Theaccompaniment wasdistracting to themeaning of the text.Go back to thedrawing board.

total points

TRANSLATING THE HABAÑERA TEXT RUBRIC

Lesson 2 name


Carmen Opera Box

lesson plan

title of lesson

Lesson 3: “That was a great performance and I know why!”

objective(s )

Students will learn about applying objective and subjective statements toward a musical performance. Students willapply this knowledge of criticism by writing a critique of a performance. Ideally this lesson should be used inconjunction with attending a live performance.

material(s )

• Carmen CD (Berganza/Domingo, Deutsche Grammophon) or• Carmen DVD (Ewing/Lima, RM Arts)• OBJECTIVE/SUBJECTIVE CHART (see following page)• Various reviews from newspapers and magazines of opera, concerts, musicals, theater, movies and other media

(not in Opera Box).* Depending on your particular subject area, you may choose to focus on different aspects of reviewing. For example,a music class might choose to limit themselves and only look at musical reviews.

procedure(s)

(1) Play an excerpt from Carmen. Suggested excerpts would be (a) any complete act, or if there are time restrictions,(b) shorter suggested excerpts, such as:

– Act I, scenes 1–4 (stop after the Habañera) [CD disc 1, tracks 1–10 or dvd chapters 2–5]– Act II, scenes 11–14 (stop after the quintet) [CD disc 2, tracks 1–6 or dvd chapters 11–13]

(2) Ask students to make objective and subjective statements about the performance. Chart and categorize the classcomments into two categories, objective and subjective.

Discussion points:

– Differences between objective and subjective statements– Which is easier to make, subjective or objective statements?– Which type of statement provides more information about a performance for a potential listener?

(3) Explain that the role of any critic (and all musicians!) is to balance the differences between the two. A possibleextension for this lesson could be to have students conduct research on the professional critic.

(4) Assign students to find and read three reviews from a newspaper, magazine or on-line source. Students are thento analyze the reviews, identifying the subjective and objective attributes. They will put their answers on the“THAT WAS A GREAT PERFORMANCE AND I KNOW WHY!” WORKSHEET.

(5) Students are to share findings with the class; question students about their findings.

(6) In class, have students write a review about a common, singular topic. For example, have everyone write abouttheir experiences passing in the halls between periods, or eating in the cafeteria. Discuss the subjective andobjective elements involved.

(7) Assign students to write a review outside of class. This review could be based on the performance the class willattend.

assessment(s)

option one

Evaluation shall include the successful completion of the reviews found, analyzed, and written. Class participationshould also be included.

option two

Evaluation shall include the successful completion of the reviews found, analyzed and written. In addition, studentsare to fill out another OBJECTIVE/SUBJECTIVE CHART evaluating an addition excerpt from Carmen or anotherperformance. (The suggested Carmen excerpt is (1) the other DVD or CD clip you did not use during the lesson, or (2)Act IV: cd desc 2, track 15–18, DVD chapters 22–24.) Class participation should also be assessed.

additional comment(s)

Encourage students to write a review about a live performance of another ensemble within the school or a professionalgroup. A group of students could also review a new movie. Also, if possible, inquire if some of these reviews couldbe included in a school or local newspaper.


19

opera

box

lesson

plans

APPLYING VALUE TO MUSICAL PERFORMANCE WORKSHEETOBJECTIVE/SUBJECTIVE CHART

Lesson 3 name

criteria

objective subjective objective subjective objective subjective

1

2

3

4

5

1

2

3

4

5

1

2

3

4

5

directions

After listening to a piece of music, create a list of five (5) objective statements regarding the overall performance itself, the quality of the piece(s) and theperformers. Then make a list of five (5) subjective statements regarding the same criteria. In the “criteria” box, identify what you are (sub) objectifying.

criteriacriteria


Carmen Opera Box

lesson plan

title of lesson

Lesson 4: Acting scenes from Carmen

objective(s )

Students will learn about the importance of acting in opera and how it relates to the libretto.

material(s )

• LIBRETTO English National Opera Guide No. 13: Carmen, PP. 121–124); one copy per student• ACTING EVALUATION WORKSHEET (see following page); two copies per student• Carmen DVD (the Migenes/Domingo, Tri-Star movie is suggested)

procedure(s)

(1) Before you do this lesson in class it is recommended that you read through this excerpt. You need to becomfortable with what you will be asking your students to act out. Suggest to your students that a libretto isthe text of what is being sung and the translation is of those words. It’s not meant to be a spoken play.

(2) Give a copy of PP. 121–124 from the Carmen libretto to each student. Ask for volunteers to read and act thefollowing parts:

Carmen (gypsy)Jose (army officer who has deserted his post)Chorus (spectators at a bullfight)

Students are to read through the excerpt, take notes and discuss the personalities of the characters.

(3) In small groups, they are to read through it again and prepare to act out their roles in front of the classroom.Encourage students to add vocal inflection and gesture to their parts. Their choices will be discussed in the nextstep.

(4) After each group finishes performing the excerpt, discuss as a class the choices they made in creating theircharacters. What was done to differentiate Carmen from José? Did Don José seem angry or jealous (or both)?How was that portrayed by the actor? How did the chorus react when they saw Carmen dead?

(5) Move the discussion to the “acceptability” of these gestures.– Is the audience convinced that the characters are real?– Are these choices and roles acceptable to our current sensibilities?– Are there some gestures acceptable and others unacceptable?– Are there any stereotypes being portrayed?

assessment(s)

Student will watch the Act IV scene two of Carmen (Migenes/Domingo, Tri-Star DVD), chapters 23–24, and completethe ACTING EVALUATION WORKSHEET based on the actions from the movie.

Value will be given for completion of the worksheet with acceptable answers. Class participation should also be givenvalue.

ACTING EVALUATION WORKSHEET

Lesson 4 name of observer

name of performer

d i r e c t i o n s

Closely observe your peers as they perform scenes from Carmen. Look for the following elements in their performance.Be consistent and fair with each group.

(1)What was the single most effective gesture used by the group performing?

(2) Did the group performing “follow” each line of the text? Did they physically reinforce everything they were saying?

(3) Did the actors make eye contact with each other and/or the audience?

(4)Was the voice of the actors varied to create variety and emotion in the scene?

(5) Give one suggestion to the performing group to improve their performance.



Carmen Opera Box

lesson plan

title of lesson

Lesson 5: Conflicts of the Characters in Carmen

objective(s )

Student will learn about the character Carmen and the direct interaction she has with four other characters in the opera.* This lesson may also be done after the class attends a performance.

material(s )

• CONFLICTS OF THE CHARACTERS IN CARMEN WORKSHEET

procedure(s)

(1) Give one copy of the CONFLICTS OF THE CHARACTERS IN CARMEN WORKSHEET to each student. Students are toidentify each person that Carmen has a direct relationship with in the opera. Carmen is in the middle and thesurrounding circles are Don José, Escamillo, Zuniga, Frasquita/Mercédès.

(2) The arrows pointing to Carmen are for that particular character’s conflict with Carmen. The other arrows are forCarmen’s conflict with them. See assessment for detailed answers.

assessment(s)

Collect completed worksheets and assign a point value to each possible answer (12 total).Answers:(1) Don José (2) He’s in love with Carmen (3) She’s in love with Don José for awhile.

(4) Escamillo (5) He’s in love with Carmen (6) She falls in love with him after Don José.

(7) Zungia (8) He’s in love with Carmen, sends her to jail (9) He sends her love to jail.

(10) Frasquita/Mercédès (11) They warn her to be careful of Don José.

(12) She thinks her friends are foolish for warning her.


Thanks go to the Opera Company of Philadelphia and their Education Department for allowing us to modify thislesson.


CONFLICTS OF THE CHARACTERS IN CARMEN WORKSHEET

Lesson 5 name

directions:

Identify the four major characters that have a direct relationship with Carmen. Carmen is in the inner circle with theother characters in the two diamonds and two rectangles. In the arrows pointing towards Carmen, identify theconflict that that person has with Carmen. In the arrows pointing out, identify the point of conflict between Carmenand that character. There are a total of 12 answers.


Carmen Opera Box

lesson plan

title of lesson

Lesson 6: Interpretations of the “Je vais danser …” (I will dance in your honor) duet from Carmen.

objective(s )

• Students will learn to compare and contrast musical elements from two different recordings of the “Je vais danseren votre honneur” (I will dance in your honor) duet.

material(s )

• Carmen CD disc 2, track 8 (Berganza/Domingo, Deutsche Grammophon)• Carmen CD disc 2, track 3 (Callas/Gedda, EMI Classics)• Carmen DVD chapter 15 (Migenes/Domingo, Columbia Tri-star)• Text of the “Je vais danser …” duet (English National Opera Guide p. 75)• optional : Music of the “Je vais danser …” duet (vocal score pp. 189–199, full score pp. 282–297)

procedure(s)

(1) Give one copy of INTERPRETATIONS OF “JE VAIS DANSER EN VOTRE HONNEUR” WORKSHEET to each student. Avariation of this lesson can be to also give your students a copy of the libretto to follow while listening to therecordings. More advanced music students could follow along with the vocal or full score.

(2) Tell the students that they will listen to two different recordings of the same aria. They are to make five objectiveand five subjective statements for each recording. (Make sure your students understand the difference betweenobjective and subjective statements when describing a musical performance.)

(3) Play the Carmen CD disc 2, track 8 (Berganza/Domingo, Deutsche Grammophon) of “Je vais danser …” for theclass. The students are to write down statements for the first recording.

(4) Play the other Carmen CD disc 2, track 3 (Callas/Gedda, EMI Classics) of “Je vais danser …” for the class. Thestudents are to write down statements for the second recording.

(5) As a class discuss the similarities and differences between the two recordings. Suggested topics for discussion:

– Determine the artistic merits of the two performances– The students’ own personal preferences between the two performances– Why there are differences (the singers are performing from the same written music)?– Which recording is more dramatic, musical, or authentic, etc?

assessment(s)

Play the Carmen DVD, chapter 15 (Migenes/Domingo, Columbia Tri-star) of “Je vais danser …” The students arethen to write a persuasive essay either for or against this performance. Students are to include objective andsubjective statements in their essays. They are to compare and contrast this performance with the other twopreviously listened to.

additional comments

See Lesson 7 for additional activities on this topic.


INTERPRETATIONS OF THE “JE VAIS DANSER EN VOTRE HONNEUR” (I WILL DANCE IN YOUR HONOR) DUET FROMCARMEN WORKSHEET

Lesson 6NAME

DIRECTIONS

After listening to each recording of “Je vais danser …” write down five objective and five subjective statements aboutthe recording. Follow the same procedure after listening to the second recording. Finally, you will listen to a thirdrecording of the same piece and are to compose a persuasive essay either for or against the artistic choices made by theperformers. Make sure you include both objective and subjective statements to support your opinion.

subjective objective subjectiveobjective

1st performance 2nd performance

5

4

3

1

2

5

4

3

1

2


Carmen Opera Box

lesson plan

title of lesson

Lesson 7: Comparing and contrasting performances of the Carmen finale

objective(s )

Students will learn to compare and contrast musical elements from two recordings of the finale from Carmen.

material(s )

• Carmen CD disc 3, track 18 (Berganza/Domingo, Deutsche Grammophon)• Carmen CD, disc 2, track 18 (Callas/Gedda, emi Classics)• COMPARING AND CONTRASTING PERFORMANCES OF THE CARMEN FINALE WORKSHEET

procedure(s)

(1) Play the Berganza/Domingo CD of the Carmen finale (disc 3, track 18) for the class.* Students are to write downfive facts and five opinions of the performance on the COMPARING AND CONTRASTING PERFORMANCES OF THECARMEN FINALE WORKSHEET (see following sheet). You may need to prepare your students for this lesson bydefining objective and subjective statements especially when analyzing music.

(2) Play the Callas/Gedda CD of the Carmen finale (disc 2, track 18). The students are to write five additionalobjective and subjective statements of this performance.

(3) As a class, discuss the similarities and differences between the two recordings. Suggested topics for discussion are:

– Determine the artistic merits of the two performances.– What are the personal preferences between the two recordings?– Why are there differences (both recordings are performing the same music)?– Which recording is more dramatic, musical, authentic, etc?

assessment(s)

Play the Habañera from both CDs (Berganza/Domingo CD disc 1, track 10) (Callas/Gedda CD disc 1, track 6). Studentsare to create a list of five facts and five opinions for both recordings. Students are then to write a persuasive essaydescribing the merits of one performance over the other. Their two lists of facts and opinions should be used in theessay.

additional comments

* Depending on the musical level (and musical memory) of your students, a variation of this lesson could be toinclude a copy of the text from the libretto, vocal score or full score. This may help students focus on the musicand notice the subtle details between the performances.

See Lesson 6 for additional activities on this subject.


COMPARING AND CONTRASTING PERFORMANCES OF THE CARMEN FINALE WORKSHEET

Lesson 7NAME

DIRECTIONS

After listening to each recording of the Act IV finale of Carmen, write down five objective and five subjective statementsabout the recording. Follow the same procedure after listening to the second recording. As a class, you will discuss youranswers regarding these performances.

You will then listen to two recordings of the Habañera and write down five objective/subjective statements regarding theperformances. Then write a persuasive essay either for or against the one of the recordings. Base it on the artistic choicesmade by the performers. Make sure you include both objective and subjective statements to support your opinion.



5

4

3

1

2

ACT IV FINALE

over




5

4

3

1

2

HABAÑERA

5

4

3

1

2


objective(s )

Students will learn how Bizet’s use of the orchestra affects the drama of Carmen.

material(s )

• Carmen CD disc 2, track 9–10 (Berganza/Domingo, Deutsche Grammophon)• BIZET’S USE OF THE ORCHESTRA IN CARMEN WORKSHEET; one copy per student (see following page)

procedure(s)

(1) Give a copy of BIZET’S USE OF THE ORCHESTRA IN CARMEN WORKSHEET to each student. As a class, listen toNo. 17 – the Flower Duet (disc 2, track 9–10), and have students write down short phrases describing what theyhear. Make sure every student can define all the terms on the worksheet. Give verbal announcements at each newsection. Example responses are given in the TEACHER KEY. (see following page)

(2) Go back to the beginning of the excerpt and listen to each section again, but stop after each section fordiscussion. The discussion should focus on the fundamentals of music. Student should be encouraged to usecorrect terminology. For more advanced music students, the full or vocal score could be used for a deeperdiscussion of Bizet’s techniques.

Suggested questions:

– What is the overall tessitura of each section?– What is the tessitura of the voices or instruments, individually?– How does Bizet create a sense of forward motion?– What are the exact instruments being used in each section?– Are the keys major or minor?

assessment(s)

Value will be given for class participation and acceptable, legible answers on the worksheet.

Carmen Opera Box

lesson plan

title of lesson

Lesson 8: Bizet’s use of the orchestra in Carmen


BIZET’S USE OF THE ORCHESTRA IN CARMEN

Lesson 8 nameTEACHER KEY

directions

As you listen to No. 17 – the Flower Duet, describe the musical elements used in each section. The chart below contains somedescriptions to help you. Your teacher will verbally describe each section for you. Keep in mind that the answers in the articulation rowcan be interpreted in various ways. Use your best judgment when accepting answers.

Boxes in BOLD type are not on student worksheet.

scorepage

vocalrange

tempo

dynamics

articu-lations

vs pp. 187–8fs pp. 280–1

vs p. 189fs p. 282

vs pp. 190–193fs pp. 283–287

vs pp. 194–195fs pp. 288–291

Carmenmezzo sopranoDon Josétenor

Carmen

Allegro Allegretto Allegretto Allegretto moltomoderato

piano pianissimo Fortissimo/pianissimo

Recitative Recitative1) Pizz strings2) bugle calls off-stage3) Carmen, legato

Recitative-like

pianissimo

vs p. 196fs p. 292

Don José

Poco ritenuto

piano

scorepage

vocalrange

tempo

dynamics

articu-lations

vs pp. 196–197fs pp. 293–294

vs pp. 198–199fs pp. 295–298

vs pp. 200–203fs pp. 298–304

vs pp. 204–210fs pp. 305–315

CarmenCarmenDon José

Don José Carmen

Tempo I Poco più mosso Andantino Allegrettomoderato

piano pianissimo pianissimo

Woodwinds andCarmen – staccatoStrings – pizzicato

Violas-offbeataccompanimentcreates a sense ofagitation.

Woodwinds –legato, sustained

1)Basses – pizzicatoand staccato2)Timp., Hrns., etc..– dotted rhythm

Piano-mezzo forte-forte

vs pp. 210–211fs pp. 316–318

Allegro

Piano-pianissimo-fortissimo

Recitative

vs pp. 211–212fs pp. 318–321

Poco ritenuto

piano-fortissimo

Recitative

otherfeatures

Vocal line soundslike drum. (“Ta, ra,ta, ta…”)

Carmen’s Fatemotive

Carmen – emphasison one note, long-short rhythm.

Long andsustained, at veryhigh reach of voice.

BIZET’S USE OF THE ORCHESTRA IN CARMEN

Lesson 8 name

directions

As you listen to the Flower Duet, describe the musical elements used in each section. The chart below contains some descriptionsto help you. Your teacher will verbally describe each section for you. Keep in mind that the answers in the articulation row can be interpretedin various ways. Use your best judgment when answering.


scorepage

vocalrange

tempo

dynamics

articu-lations

vs pp. 187–8fs pp. 280–1

vs p. 189fs p. 282

vs pp. 190–193fs pp. 283–287

vs pp. 194–195fs pp. 288–291

Carmenmezzo sopranoDon Josétenor

Allegro Allegretto Allegretto Allegretto moltomoderato

piano

Recitative

vs p. 196fs p. 292

scorepage

vocalrange

tempo

dynamics

articu-lations

vs pp. 196–197fs pp. 293–294

vs pp. 198–199fs pp. 295–298

vs pp. 200–203fs pp. 298–304

vs pp. 204–210fs pp. 305–315

vs pp. 210–211fs pp. 316–318

Recitative

vs pp. 211–212fs pp. 318–321

Recitative

otherfeatures


objective(s )

Students will learn about the historical precedent of Gypsy persecution.

material(s )

• PERSECUTION OF THE GYPSIES WORKSHEET (see following page)• Research materials: Reference books, Internet, etc. (not in Opera Box)

procedure(s)

(1) Give one copy of the PERSECUTION OF THE GYPSIES WORKSHEET to each student. They are to read theintroduction individually.

(2) Students are then to pick one of the activities . Allow time to research and provide guidance during thisprocess.


Some suggested web sites:

www.flamencoshop.com/home.htm(commercial site with many links)

www.muzeum.tarnow.pl/cyganie/przew_jang.html(European History of Gypsies, some parts of this site are not in English)

www.pe.net/~kathys/gypsy.htm(site was developed by a student working on a graduate degree about Gypsy culture)

Carmen Opera Box

lesson plan

title of lesson

Lesson 9: Persecution of the Gypsies

assessment(s)

Value will be given for the completion of one activity. Students may write a summary paper or give a classpresentation describing their findings. Suggested Rubrics are provided in the student worksheet.


Persecution of the Gypsies Worksheet

Lesson 9 name

directions

Read the introduction then pick one of the activities as your assignment. See the ASSESSMENT RUBRIC forproject criteria.

introduction *

Based primarily on studies of their language, most historians agree that the gypsies originated in India. By piecingtogether different portions of their history, it appears that they migrated to the Persian countries in the 5th century CE(Common Era) where they had an excellent reputation as musicians, entertainers and metal workers. After passingthrough Egypt they made their way to Europe, first to Greece and the Balkans in the 1200s, and then Eastern andWestern Europe in the following centuries.

Their primary occupation remained in entertainment and metalworking as they traveled around Europe. Manyhistorians have tried to justify their wandering lifestyle with the needs of their occupations; however, the gypsies mayhave simply developed as appreciation for the excitement of a nomadic life. Although they were contributing toEuropean culture with their various talents, they soon began to attract accusations of robbery, sorcery and fraud. In orderto flee these accusations, they again adopted their tradition of moving from place to place. The uncertainty of thislifestyle led to an extremely strong bond between the members of the gypsy groups. The gypsy language and cultureheld these extended family units together.

The widespread accusations of mischief against the gypsies reveal a combination of misperceptions and reality. Possiblya few of the gypsies, in order to supplement their meager incomes, indulged in petty thievery; however, theirinvolvement in high level sorcery and witchcraft, of which they were accused, is highly improbable. Thecharacterization of Carmen bewitching Don José with a cassia flower, “the witch’s flower,” reflects the reality in Spainat that time in which there were many unfounded accusations of witchcraft and heresy. Whatever petty crimes some ofthe gypsies may have committed, the persecution of the gypsies exceeded the simple punishment for criminal activityand became widespread abuse based on an anti-gypsy prejudice. As a result, the gypsies as a group were forced to fightfor their own survival on a daily basis.

In spite of their persecutions, the gypsies gave Spain one of its most respected dance forms, the flamenco. This danceuses castanets which the gypsies brought into Europe from Egypt.

It is important for us in the twenty-first century to recognize the injustices that were perpetrated in the past and alsothose that continue today. During World War II, the Nazis persecuted the gypsies as they the Jews. There certainly ismuch we can learn regarding tolerance and the acceptance of people different than ourselves.

We need to recognize our own prejudices and the dangerous behaviors they can produce. If you dislike someone becauseof their race, religion, language or culture, you are denying yourself the opportunity to learn from that person. Each ofus had a rich ethic culture of which to be proud. Escaping the cycle of prejudice enables us to enjoy the many wondrousways people are alike and different.

activities

(1) Interview someone who has been persecuted for their race, religion or cultural heritage. Write a summary paper orgive a class presentation describing your findings. Suggested questions to ask:– What were you persecuted for?– How did that make you feel?– Are you still angry about what happened?– Have you persecuted someone for the same reason, just in reverse?– How can you overcome prejudices?– Add you own questions.

(2) Research your own cultural ancestors and discover if they were persecuted or if they persecuted another ethnicgroup. For example, if you are of German decent, when your ancestors left Germany to come to America, did theyfind that all American’s were welcoming them with open arms? Where they persecuted just for being German? Inwhat ways—politically, religiously, etc? Write a summary paper or give a class presentation describing yourfindings.

(3) Research a current political situation in the world to see if there is persecution happening today. For example, thesituation in Israel between the Jews and Muslims has been going on for a very long time. What is the reason forthis conflict? Is there an end in site? Write a summary paper or give a class presentation describing when and whatis the motivation of the groups involved.

* This text is taken from the Opera Company of Philadelphia’s Sounds of Learning Carmen Study Guide, 2002.



PERSECUTION OF THE GYPSIES RUBRIC

category 4 3 2

organization

mechanics

quality ofinformation

Information is veryorganized with well-constructed paragraphsand subheadings.

Information isorganized with well-constructedparagraphs.

Information isorganized, butparagraphs are notwell-constructed.

No grammatical,spelling orpunctuation errors.

Almost nogrammatical, spellingor punctuation errors.

A few grammaticalspelling orpunctuation errors.

Information clearlyrelates to the maintopic. It includesseveral supportingdetails and/orexamples.

Information clearlyrelates to the maintopic. It provides 1–2supporting detailsand/or examples.

Information clearlyrelates to the maintopic. No detailsand/or examples aregiven.

SUMMARY PAPER

sources

All sources(information andgraphics) areaccurately documentedin the desired format.

All sources(information andgraphics) are accuratelydocumented, but a feware not in the desiredformat.

All sources(information andgraphics) are accuratelydocumented, but manyare not in the desiredformat.

Some sources are notaccuratelydocumented.

Information has littleor nothing to do withthe main topic.

A few grammaticalspelling orpunctuation errors.

The informationappears to bedisorganized.

1


CLASS PRESENTATION

category 4 3 2

preparedness

usescompletesentences

content

Student is completelyprepared and hasobviously rehearsed.

Student seems prettyprepared but mighthave needed a couplemore rehearsals.

The student issomewhat prepared,but it is clear thatrehearsal was lacking.

Always (99–100% oftime) speaks incomplete sentences.

Mostly (80-98%)speaks in completesentences.

Sometimes (70-80%)speaks in completesentences.

Shows a fullunderstanding of thetopic.

Shows a goodunderstanding of thetopic.

Shows a goodunderstanding of partsof the topic.

stays ontopic

Stays on topic all(100%) of the time.

Stays on topic most(99–90%) of the time.

Stays on topic some(89%–75%) of thetime.

It was hard to tellwhat the topic was.

Does not seem tounderstand the topicvery well.

Rarely speaks incomplete sentences.

Student does not seemat all prepared topresent.

1


Opera Box Lesson Plan

name(s)

title of lesson

school

phone/email

class and grade level

objective(s )

material(s )

procedure(s)

assessment(s)


please

includeanyoriginalmaterials,

ifpossible.

Create your own Opera Box Lesson Plan and send it to us.

Synopsis and Musical Excerpts

The prelude to Carmen is a popular concert piece, having been incorporated into two concert suites arranged by ArturoToscanini. It consists of three themes:

( ia) prelude (orchestra)

( ib) prelude (orchestra)

CARMENMUSIC BY GEORGES BIZETLIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVYBASED ON THE NOVELLA BY PROSPER MÉRIMÉE (1845)

WORLD PREMIERE AT THE OPÉRA-COMIQUE, PARISMARCH 3, 1875

SUNG IN FRENCH

CAST OF CHARACTERS

CARMEN, A GYPSY GIRL.......................................MEZZO-SOPRANO

DON JOSÉ, A CORPORAL IN THE DRAGOONS .........................TENOR

ESCAMILLO, A TOREADOR...............................................BARITONE

MICAËLA, A PEASANT GIRL ............................................SOPRANO

MERCÉDÈS, A FRIEND OF CARMEN .........................MEZZO-SOPRANO

FRASQUITA, A FRIEND OF CARMEN...................................SOPRANO

ZUNIGA, A CAPTAIN OF THE DRAGOONS.....................BASS-BARITONE

EL DANCAÏRE, A SMUGGLER ...........................................BARITONE

EL REMENDADO, A SMUGGLER............................................TENOR

MORALÈS, A CORPORAL IN THE DRAGOONS .......................BARITONE

LILLAS PASTIA, AN INNKEEPER............................................SPOKEN

ANDRÈS ....................................................................BARITONE

GUIDE......................................................................BARITONE

CIGARETTE FACTORY GIRLS, DRAGOONS, SMUGGLERS, DANCERS,

TOWNSPEOPLE

SETTING: SEVILLE AND ITS SURROUNDINGS

& ### 42Ÿ~~~~

ƒAllegro giocosoœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ˙

& ## # 42Allegro giocoso

pœ œ. œ. œ. œ œ œ œ. œ. œ. œ. œ.

œ. œ# œ# œ Jœ. ‰

synopsis and musical excerpts 38

The third theme is used again in the Toreador Song, listed below (#8).

Also of note is a theme commonly associated with Carmen, known as the “fate” theme. It appears at several importantmoments in the opera.

(2) “fate” theme (orchestra)

act i

At the barracks in Seville, Spain, bored soldiers watch the townfolk come and go. They perk up when Micaëla, a prettyBasque country girl, arrives looking for one of them, Don José. He is not there, but the corporal Moralès invites Micaëlainto the guard house. She declines politely and is told to return later. Soon after her departure, Don José comes in withthe changing of the guard, and children imitate the soldiers.

(3) children’s march

Zuniga, a new recruit, is excited about the girls who work at the cigarette factory across the road, but Don José can’tbe bothered. He is pleased to hear that Micaëla is in the neighborhood and goes on cleaning his rifle.The factory girls stroll onto the scene headed by the seductive gypsy, Carmen, who sings her “Habañera.” Love, she says,is like a rebellious bird that cannot be tamed.

(4) habañera: l’amour est un oiseau rebelle (carmen)

The young men all ogle her, but she has eyes for the only man who will not pay her any attention. Before leaving shedrops a flower at the feet of Don José. He picks it up just as Micaëla returns with greetings from his mother. Togetherthey sing nostalgically of home.

? 43 ƒ

Andante moderato

tutta forza

œ œ œ# œb œ jœ ‰ Œ ŒŒ J

œœ ‰ Jœœ ‰

œ œ œ# œn œ œ Œ ŒŒ Jœœ ‰ J

œœ ‰

& b 42Ÿ

∏

Allegretto moderatojœ# œ. œ. œ. œ. œ# . œn . œ- jœ# œ. œ. œ. œ. œ# . œn . œ- œ# œ. œn . œ. œ œ œ. œ. œ# œ œ œ. œ. œ. œ. Jœ ‰


& b 42pAllegretto, quasi Andantino.

Œ Jœ Jœ#L'a - mour

3

Jœn Jœ Jœ Jœn Jœbest un oi - seau re -

jœ rœ rœ jœ# jœnbel - le Que nul ne

3

œ œ œ œ œ jœ jœpeut ap - pri - voi -

& b jœ ‰ Jœ Jœ#ser, Et c'est

3

Jœn Jœ Jœ Jœn Jœbbien en vain qu'on l'ap -

rœ rœ ≈ rœ jœ jœpel - le, S'il lui con -

3

œ œ œ œ œ jœ jœvient de re - fu -

œser.

TRANSLATION: LOVE IS A WILD BIRD THAT NO ONE CAN TAME. YOU CALL IN VAIN; IT CHOOSES NOT TO HEAR.

(5) duet: j ’apporte de sa part … (micaëla, then don josé)

Micaëla leaves so that Don José can read the letter from his mother. Suddenly there is an uproar from the factory;Carmen has slashed the face of another girl. Don José is sent to arrest her. When he ties her hands, she sings the“Seguidilla,” hinting that if Don José will let her go, she will meet him later at a tavern outside town.

(6) seguidilla: près des remparts de séville … (carmen)

Finally too weak to resist, he loosens her bonds. Carmen escapes as the laughing cigarette girls surround the surprisedsoldiers.

act ii

At the tavern of Lillas Pastia one month later, Carmen and her gypsy companions sing the intoxicating “ChansonBohème.”

(7) chanson: les tringles des sistres tintaient … (carmen, then frasquita, mercédès)

& ## 83π e leggiero.Allegrettojœ jœ

jœ#Près des rem -

jœ# Jœ Jœparts de Sé -

.œ œ œ œ œ œnvil -

œ ‰le,

3œ œ œ jœ jœChez mon a -

3œ œ œ jœ jœmi Lil - las

& ## jœ Jœ œPas - tia

jœ ‰ jœ.̂

J'i -

jœ.̂

Jœ.̂ Jœn .̂rai dan - ser

Jœ.̂jœ.^ jœ.

^la Sé - gue -

rœn rœjœ.^ jœ# .

^dille Et boi - re

jœ.^ jœ.

^ jœn .^

du Man - za -

& ## œ œ œnil - la.

.œ jœ ‰ rœ rœ#J'i - rai

rœ rœ# rœ# Rœ Rœ Rœchez mon a - mi Lil - las

Jœ œPas - tia.

.œTRANSLATION: BY THE WALLS OF SEVILLE, AT MY FRIEND LILLAS PASTIA’S TAVERN, I’LL DANCE THE SEGUIDILLA AND DRINK MANZANILLA.


& bb 43Andantino non troppo.

pjœ

J'ap -

œ Jœ Jœ Jœ Jœpor - te de sa

Jœ Jœjœ Jœ Jœ jœ

part, fi - de - le mes - sa -

œ jœ ‰ Jœ jœgè - re, Cet - te

œ jœlet - tre.

T

TRANSLATION: I BRING TO YOU THIS LETTER …

& # 43Andantino.

pben ritmato.jœ

Les

jœ jœ jœ jœ Jœ Jœtrin - gles des sis - tres tin -

˙ Rœ ≈ Jœtaient A -

Jœ jœ jœ jœ jœ Jœvec un é - clat mé - tal -

œ œ# œ œ œ ‰ Jœli - que, Et

& # Jœb jœn jœ jœ jœ Jœsur cette é - tran - ge mu -

œ œ# œ œb œ ‰ œ œ#si - que Les

jœn œ œ Jœn jœ jœ jœZin - ga - rel - las se le -

.˙vaient.

jœTRANSLATION: THE JANGLING STRINGS OF THE ZITHERS PLAYED TO THE BEAT OF THIS STRANGE MUSIC. THE GYPSY GIRLS AROSE!

Between drinks, Zuniga tells Carmen that Don José has been released from jail. Through the door comes Escamillo, thetoreador, singing his swaggering song that describes the thrills of the bullring.

(8) couplets: votre toast … toréador, en garde! (escamillo)

He flirts with Carmen before leaving. The gypsies now plot a smuggling run.

(9) quintet: nous avons en tête … (dancaïro, mercédès, frasquita, then remendado, carmen)

Carmen refuses to join them, saying she must stay behind to meet someone she intends to repay in kind. Sure enough,Don José is soon at the tavern, professing a passionate love for Carmen, who dances for him to the sound of castanets.

(10) danse (carmen)

When the bugle sounds retreat he starts to leave but Carmen taunts him. He insists he loves her, singing how hedreamed of no one else while in prison.

? b cAllegro molto moderato

pœ .Jœ Rœ œ œ ≈ œTo - ré - a- dor, en

jœ .œ œ .œ œ œ Jœ ‰gar - de!

œ .Jœ Rœ œ Jœ ‰To - ré - a - dor!

œ .Jœ Rœ œjœ ‰

To - ré - a - dor!

? b ˙ Jœ Jœ Jœ Jœb

Et son - ge bien, oui,

jœ Jœ Jœ Jœ Jœ œ Jœ ‰son- ge en com - bat - tant

œ œ œ Jœ# JœnQu'un oeil noir te re -

cresc.wgar -

? bdim.Jœ

3

œ œ œ Jœ# Jœ Jœ Jœ œbde Et que l'a- mour t'at- tend,

π rit poco. p‰3

œ œ œ Jœ Jœ œn Jœ ‰

To - ré - a - dor,

‰3

œ œ œ jœ Jœ œ œ œ œL'a - mour, l'a- mour t'at -

a tempoœ Jœ ‰ Ótend!

TRANSLATION: TOREADOR, EN GARDE! REMEMBER – TWO EYES WATCH YOU, AND LOVE AWAITS.

& bb b b b 166Allegro vivo

El Dancaïro

Fjœ rœ

jœ rœNous a - vons en

.jœ jœ rœtête une af -

œ œ œ œ œ œfai -

Mercédèsp legg..jœ ‰ Rœre Est -

& bb b b b Jœ Rœ jœrœ

el - le bon - ne,

Frasquitalegg.jœ rœ jœrœ

di - tes nous? Est -

≈p

Jœ Rœ jœrœ

el - le bon - ne,

jœ rœ jœ ≈di - tes nous?

T


TRANSLATION: WE HAVE A CAPER … THAT PAYS VERY WELL.

& bb cAllegretto moderato

p œ œ œ œ œ œ œ œ œLa la

œ œ œ œ œ œ jœ ‰la la

œ œ œ œ œ œ œ œ œla la

œ œ œ œ œ œla la

(11) aria: la fleur que tu m’avais jetée (don josé)

“If you really loved me,” Carmen retorts, “you’d follow me into the mountains.” Their argument is interrupted byZuniga, who has retuned hoping to find Carmen alone. Instead he almost comes to blows with Don José. The gypsiesenter, disarm Zuniga, and sing tantalizingly to Don José of the carefree gypsy life.

act ii i

(12) entr’acte (orchestra)

It is dawn and the smugglers are making the difficult pass across the mountains. They break and set up camp. Don Joséis feeling remorse over his decision to join the gypsies. Frasquita and Mercédès spread out the tarot cards. For themselvesthey see fortunes and handsome lovers, but for Carmen, the cards show only death.

(12) trio: mélons! coupons! … et maintenant, parlez (frasquita, mercédès, then carmen)

Most of the gypsies leave, and Micaëla appears over the rocks. She has come to try to talk sense into Don José.

(13) aria: je dis (micaëla)

& bb b b b cAndantinop con amoreœ Jœ jœ jœ jœn jœ Jœ

La fleur que tu m'a - vais je -

˙ jœ ‰ œté - e, Dans

Jœ Jœ œ Jœ Jœ Jœb Jœma pri - son m'é - tait res -

˙ Jœ ‰ œté - e, Flé -

& bb b b b Jœ jœn œ Jœ Jœ Jœ Jœtrie et sè - che, cet - te

˙b ‰ jœ Jœ Jœfleur Gar - dait tou -

˙ jœ jœ Jœ Jœjours sa douce o -

˙ Œdeur;

T

TRANSLATION: THE FLOWER THAT YOU THREW, I KEPT WITH ME IN PRISON … IT WAS WITHERED AND DRY BUT STILL KEPT IT PERFUME.

& bb b cAndantino, quasi Allegretto

.œ Jœ œ œ œ œ œ3

œ œ œ œ ‰ Jœ œœ œ œ œ œ œ œ œ œ œ .œ œ œ œ


& 42con grazia

Allegretto con motop jœJœEt

œb œœ œmain - te -

œb ‰ jœœ ‰ Jœnant, par -

œ œjœ jœœ œb Jœ Jœ

lez, mes

œ œ œ œ rœ ≈ jœ jœœ œ œ œb Rœ.≈ Jœ Jœ

.

bel - les, De

& œ œ#œ œl'a - ve -

œ ‰ jœœ ‰ Jœnir, don -

jœ jœ jœn jœbJœn Jœb Jœ Jœnez - nous des nou -

œ rœœ Rœvel - les,

T

TRANSLATION: AND NOW LITTLE CARDS, TELL US ABOUT THE FUTURE …

& bb b 89pAndantino moltojœ

Je

.œ jœ jœ jœ Jœjœ jœ

dis, que rien ne m'é- pou -

.œ rœ ≈ œ œn œ œ jœvan - te Je dis, hé -

.œn Jœ Jœ Jœ œb œ Jœlas! que je ré-ponds de

Sœ ‰ .œ# œ jœmoi; Mais j'ai beau

She hides as Escamillo arrives searching for Carmen. He is interrupted by Don José, who picks a fight with him. Carmenreturns and separates them. Escamillo mocks Don José and invites everyone to the bullfight. The gypsies have returned,dragging along Micaëla, whom they discovered in hiding. The girl pleads with Don José to come home, and he isinfuriated when Carmen agrees with the idea. Learning from Micaëla that his mother is dying, Don José agrees to go.“We will meet again,” he shouts at Carmen as she runs off in the direction of Escamillo’s voice.

act iv

Vendors ply their trades in front of the arena as a brilliant procession of toreadors makes its way to the bullfight. Amongthem are Carmen and Escamillo, arm in arm. Frasquita and Mercédès warn Carmen that Don José is in the crowd, butthe proud gypsy does not acknowledge fear; in fact she chooses to wait for him. When he confronts her, she defies him:“Free I was born, and free I will die!” He demands that she leave with him. In reply, she flings the ring he gave her tothe ground.

(14) duet: ah! ne me quitte pas … (don josé, carmen)

He stabs her. As the jubilant crowd pours out of the arena, they find Don José weeping over Carmen’s body.

& bb b .œ œ œn jœ œ œ jœfai - re la vail -

.œ rœ ≈ œ œn œ œ jœlan - te, Au fond du

.œ Rœ ≈ œ œn œ œ Jœcoeur je meurs d'ef -

.œ .œ Jœ ‰ ‰froi!

TRANSLATION: I SAY NOTHING FRIGHTENS ME, I CAN TAKE CARE OF MYSELF. THOUGH I PRETEND TO BE BRAVE, INSIDE I’M SCARED TO DEATH.

& bb b b cƒ Don José‰ Jœ Jœ Jœb Jœ Jœ Jœ Jœ

Ah! ne me quit - te pas, Car -

rœ ≈ jœb jœn jœ .œU

Jœmen, ah! ne me quit - te

ƒ Carmenœ Œ ‰ Jœ Jœ Jœpas! Ja - mais Car -

˙ œ 3Jœ Jœ Jœmen ne cè - de -

& bb b b 42œn Jœ ‰ Óra!

Œ ˙ Jœn JœnLi - bre elle est

Jœn jœ ≈ rœn ˙n 3jœn jœn jœ#née et li - bre el - le mour -

œra!

& bb b b 42œn Jœ ‰ Óra!

Œ ˙ Jœn JœnLi - bre elle est

Jœn jœ ≈ rœn ˙n 3jœn jœn jœ#née et li - bre el - le mour -

œra!

TRANSLATION: AH! DON’T LEAVE ME CARMEN … NEVER WILL CARMEN YIELD. FREE SHE WAS BORN AND FREE SHE SHALL DIE.


CarmenFlow Chart

key and details

SceneThe terms used to identify each section is the page found in the Dover vocal score. (VS)

Musical DescriptionThe terms used here are the tempo markings in the score. Metronome markings follow in parenthesis. The KEY given isdecided by the tonality at the beginning of the scene.

OrchestrationComments given here are general in nature and are intended to give the listener some insight into the use of the orchestra.This is another element used to tell the story. Descriptions are not necessarily from Bizet, but suggest what we know aboutthe orchestra at that time.

ThemesIdentified here are significant melodies used and sometimes reused by various characters. The names of the themes arebased on common use found in standard scholarly books about Bizet.

DramaThis is the basic story line. Main characters are given in shorthand:

Carmen = C Micaela = M Zuniga = ZDon José = DJ Frasquita = F Remendado = REscamillo = E Mercédès = MD Dancaïre = D

Related InformationThese comments included are interesting facts about Bizet and Carmen in a larger context, beyond the work itself.

44

flowchart

CarmenFlow Chart

act i (vs pp. 1 – 31)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Bullfight motif (p. 1)Toreador Song (p. 2)Carmen’s Fate (p 4)

Boys watch the changing of the guard.DJ learns that M is looking for her. Z islooking for the cigarette factory andthe girls, DJ says he doesn’t noticethem because he is in love with

Bizet creates a march-like feeling withthe use of triangle, bugle calls,pizzicato strings, and “Ta, ra, ta, ta” ofthe boys. Two high flutes in duet playopening theme.

Prelude (pp. 1 – 4) No. 3 – Chorus of Streetboys (pp. 21-31)

Allegrettokey: f majorPoco più animato (m q = 116)key: a minor

Allegro (m q = 112)key: a majorL’istesso Tempokey: d minor

Allegro giocoso (m q = 116)key: a majorAllegro giocoso (m q = 58)key: d minor

Soldier’s are standing around watchingpeople go by. M enters looking for DJ.

The story isn’t forwarded, butatmosphere is set.

No. 2 – Scene and Chorus (pp. 5 – 20)

45

flowchart

This prelude is one of the most popularpieces in all orchestral and opera litera-ture. Richard Strauss said, “If you wantto learn how to orchestrate … study thescore of Carmen.”

CarmenFlow Chart

act i (vs pp. 33 – 59)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Arpeggiated, sourdine strings and harpgive feeling of smoke drifting away.

When C enters, the style is suddenly anddrastically different. Phrasing before Centers is six and eight bars long, when Centers, phrasing changes to four barseach, with short articulations.

C theme (p. 41)

Soldier’s are waiting for the factorygirls to appear. Cigarette girls entersinging that the vows of men are likesmoke. C enters. Men ask her when shewill love them, she responds, maybesoon—maybe never!

Men ask C to answer them, she looks atDJ. She gives him a flower. Bell ringsand cigarette girls return to work. DJ isentranced by C. M enters.

C theme (p. 55)C’s Curse (p. 56)Habañera (p. 56 and 59)

No. 4 – Chorus of Cigarette Girls(pp. 33 – 43)

No. 6 – Scene and Recitative(pp. 55 – 59)

Allegretto, quasi Andantino (m q = 72)key: d minor/d major/d minor/d major

Allegro moderato (m q = 100)key: a pedal

Allegro (m q = 104)key: c major

C sings that love is like a wild bird,cigarette girls sing, “Beware!”

A “habañera” is a Spanish folk song;not new to opera-comique; composedin a strophic form.

Bizet’s use of chromaticism is used togive C a very sensual character.

Harmonically this aria is very static,which Bizet creates a feeling of “mes-merizing tension” through the Dpedal.

No. 5 – Habañera(pp. 44 – 54)

46

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Very famous aria for mezzo-sopranos.

CarmenFlow Chart

act i (vs pp. 60 – 94)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Quasi-religious music with arpeggiatedharp.

The first time DJ sings flowing phras-es, like M. Tempi is more relaxed.

C theme in orchestra when DJ thinks ofhis mother versus C (“Démon”) (p. 66).

M and DJ talk of home M has letterfrom DJ’s mother. It says for DJ tomarry M. He agrees.

DJ learns of the quarrel. C doesn’trespond, she sings that there is some-one she loves. She is sent to jail.C asks for help and tells him tothrough the flower.

Séguedille (p. 89)

Séguedille is scored first in anextremely low flute, followed byviolin and cello.

No. 7 – Duet(pp. 60 – 75)

No. 9 – Song and Melodrama(pp. 88 – 94)

Allegro vivo (m q = 76)key: e major

RecitativeAndantino non troppokey: bb major

A fight breaks out at the cigarette fac-tory. Z enters to find out what is goingon sends DJ to find out.

No. 8 – Chorus(pp. 76 – 87)

47

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CarmenFlow Chart

act i – ii (vs pp. 95 – 127)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Low flute, again, used to give C a sensu-al feeling.

Séguedille (p. 95)

Fluid harmony creates feeling of C’ssensuality.

The relationship of C and DJ is devel-oped.

C, F and MD sing a gypsy song. The innis closing and they are asked to leave.C learns that DJ is now out of prison.

“Flutes in thirds quietly introducewhirling figures of the gypsy dance.”

Harp and pizzicato strings are guitar-like.

“A tour de force of orchestration, one ofthe most impressive in all opera, isbuilt around three strophes C singsand is joined by F and MD.”

No. 10 – Séguedille and Duet(pp. 95 – 105)

No. 12 – Gypsy song(pp. 113 – 127)

Allegro vivo (m q = 69)key: f minor, finishes in A major

Andantino quasi Allegretto (m q = 100)key: e minor

Allegretto (m q = 160)key: b minor

C tells DJ that she will hit him andescape. She does, and the soldierslaugh.

Habañera (p. 107, 108)

DJ military tune (p. 110) this is in asubtly scores with flutes, bassoons,and snare drum. This is in contrast toC’s upcoming music.

No. 11 – Finale; Entr’acte(pp. 106 – 112)

48

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act ii

CarmenFlow Chart

act ii (vs pp. 128 – 183)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Men’s chorus sings offstage then moveson stage – creates a sense of movement.

The crowd cheers for E. C, F and MD, talk business with D andR. The women say that they are neededto be successful. C states that she willnot leave because she is in love.

No. 13 – Chorus(pp. 128 – 132)

No. 15 – Quintet(pp. 154 – 183)

Allegro moderato (m q = 108)key: f minor/f major/e major

recitativeAllegro vivo (m q = 152)key: db minor

Allegro (m q = 120)key: c major

E sings about bullfighting and the“dark-eyed” love that awaits him.

E introduces himself to C. She is notinterested in him, he says he willreturn. E exists with F.

Toréador Song – This piece isconstructed in two strophes.

The music is full of bombast andflamboyance which reflects the vanityand self-confidence of E and alsodescribes a bullfight.

No. 14 – Couplets; Recitative; Exit(pp. 133 – 150; 151 – 152; 153)

49

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Arguably the most famous melody ofthis opera.

CarmenFlow Chart

act iii (vs pp. 184 – 212)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

DJ returns to C. C agrees toasks DJ to join them ontheir job. C tells DJ that shedanced for some soldiers. DJbecomes jealous.

C is shocked at why he isleaving. DJ says that C hashis heart.

English horn plays C’s Fatetheme. This instrument wasused to characterize tension.

No. 15 – Recitative; No. 16Song (p. 184; pp. 185 – 188)

Allegretto (m q = 104)key: bb major

Andantinokey: fluid

RecitativeAllegro moderato (m q = 100)key: g major/g minor

C dances for DJ. When DJhears the retreat, this showsDJ’s predicament – C or thearmy.

Music on p. 196 is animpassioned refrain of theAct I/No. 7 – Duet

C’s Fate theme (p. 199)

C wordless song is accompa-nied by castanets. Two trpts.play retreat to barracks.

Clarinet plays lowest notewhen C really sees DJ leaving(p. 193).

No. 17 – Duet(pp. 189 – 193) (pp. 194-199) (pp. 200 – 212))

Allegro moderato (m q = 69)key: db, majorAllegretto moderatokey: c major, but fluid

“Flower song” (DJ bears hissoul, but not to music that hesang to M.)

DJ tells C how much he lovesher. C asks DJ to leave withher and be free. He isn’tsure. Then a knock at thedoor.

50

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CarmenFlow Chart

act ii – iii (vs pp. 213 – 278)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

The music moves from a sort of seduc-tive dance-like, to a quasi-march about“la liberté!”

Z enters and sees DJ. They are about tofight when C calls for help. The gyp-sies seize Z. DJ must become a gypsynow.

F and MD are playing cards. C joins anddeals the cards that say she will bekilled by her lover, who will also die.

The trio is in three parts. The first islight and fun. The second, when Cjoins, becomes heavy as she learns herfate. The third is a return to the firstsection.


Low brass are added as C sings of herfate of death.

No. 18 – Finale; Entr’acte(pp. 213– 238)

No. 20 – Trio(pp. 262 – 278)

Allegretto moderato (m q = 96)key: c minor

Allegretto con moto (m q = 112)key: a minorModeratokey: c majorAndante molto moderato (m q = 66)key: f minor/f major

Allegro moderato (m q = 112)key: fluid until c major endAndantino, quasi Allegretto (m q = 88)key: eb major

The chorus of gypsies sing, “Be awareon your journey. Danger is very close.”

C predicts DJ will kill her.

Two horn calls alert the gypsies.

modified M music (Act I) (p. 259)

C’s Fate (P. 261)

Pizzicato strings are the smugglersclimbing in the mountains.

Entire chorus is scored “dark.”

No. 19 – Sextet; Chorus; Recitative(pp. 239 – 257; 258 – 261)

51

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The gypsy’s sarcastic politeness is col-ored by staccato flutes and bassoons.

Entr’acte creates a serene countryside.

CarmenFlow Chart

act iii (vs pp. 279 – 315)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

A simple choral scene that breaks thetension from the last scene.

The gypsies are about to go throughthe pass. The women sing to the menthat they should be careful of the cus-toms men as, “they like to please.”

E is looking for C. DJ identifies himselfas C’s lover. DJ goes into a jealous rageand fights E.

No. 20 – RecitativeNo. 21 – Morceau d’ensemble (pp. 281– 298)

No. 23 – Duo(pp. 307 – 315)

Moderatokey: eb major Allegro (m q = 112)key: f major (unstable)Allegro deciso (m q = 108)key: gb major

M enters looking for DJ. She sings thatshe will have the courage to fulfill DJ’smother’s wishes. M sees DJ, he shoots atanother, she hides.

Only solo aria in this act. The vocalline describes M’s courage.

Beautiful French horn accompanimentthroughout.

No. 22 – Air; Recitative(pp. 299 – 307)

52

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CarmenFlow Chart

act iii – iv (vs pp. 316 – 346)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Toréador Song is scored forcellos and woodwinds. Thisis different than from itsfirst hearing.

Toréador Song (p. 320)

C stops DJ from killing E. Eleaves.

“… within the space of a few minutes Don José’s world dis-integrates before him as he loses his mother to death andCarmen to a rival. Here the musical styles of the charactersare heightened and play against one another to maximumeffect …”

DJ stops from leaving whenhe hears E singing.

Entr’acte is an Andalusiantune by Manuel Garcia.

No. 24 – Finale; Entr’acte(pp. 316 – 337)

Allegro (m q = 120) Allegro moderato (m q = 96)key: f major/minor

Moderato (m q = 92)key: f major

Gypsies find M. C tells DJ togo. M says DJ’s mother isdying.


Toréador Song (p. 332)

No. 25 – Chorus(pp. 338 – 346)

Allegro deciso (m q = 168)key: g major

A square in Seville. Peopleare doing their daily business

53

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M’s aria from Act I (p. 323)

act iv

CarmenFlow Chart

act iv (vs pp. 347 – 391)

Scene

MusicalDescription

Orchestration

Themes

Drama

RelatedInformation

Theme from the Act Iprelude are used, but withmuch chromaticism andvariation.

The bullfighters parade intothe ring. E and C sing thatthey love each other. F andMD see DJ and warn C toleave. C goes to talk with DJ.

“The final duet is the masterpiece of the opera and one of the greatest closing scenes in allopera. All that goes before is a preparation for this confrontation, whose genius lies in itsemotional logic and concise dramatic structure.”

DJ realizes that he can’t savetheir love. C swears to liveand die free.

Low clarinets and timpanirepresent DJ’s anxiety (p. 379).

Octave writing in theorchestra is intended toheighten the emotion of themoment.

No. 26 – March and Chorus(pp. 347 – 372)

Recitative – Moderato(m q = 96)key: ab major (fluid)

Allegro moderato (m q = 108)key: f minor (fluid)

Allegro giocoso (m q = 116)key: e major

DJ tells C that they can startover. C says she doesn’t lovehim any more.

Allegro giocoso (m q = 116)key: g major/a major/c major/f# majorOpera comique traditionallyends with an onstage joyouschorus. Bizet obviously goesagainst tradition(successfully) here.

C’s Fate theme is heard fourtimes. (pp. 387 – 388)

Act I prelude theme

C tries to leave but is stoppedby DJ. She says that she loves E.C throws the ring DJ gave DJstabs C as E wins in the bull-ring. DJ admits his doing.

54

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Documents

1.0 - covermnopera.org/wp-content/uploads/transfer/Carmen-Guide.pdffull score (dover) vocal score (dover) dg cd (berganza, domingo) emi cd (callas, gedda) image dvd (eming, lima) tri-star