Bizet: Carmen

This notable recording followed immediately on from the famous Faggioni production at the 1977 Edinburgh Festival, a staging finely observed enough still to remain with those who were there.... — Gramophone Classical Music Guide, 2010 More…

Release Date: 7th Mar 2005
Catalogue No: 4775342
Label: DG
Series: Originals
Length: 2 hours 36 minutes

Bizet: Carmen

Work length2:36:38

$53.90

$68.60

Jean Lainé (speaker), Robert Lloyd (bass), Teresa Berganza (mezzo-soprano), Stuart Harling (baritone), Plácido Domingo (tenor), Yvonne Kenny (soprano), Patrick Criswell (chorus master), John McCarthy (chorus master), Alicia Nafé (mezzo-soprano), Ileana Cotrubas (soprano), Jean Lainé (tenor), Leslie Fyson (baritone), George Main (speaker), Richard Amner (baritone), Geoffrey Pogson (tenor), Sherrill Milnes (baritone), Gordon Sandison (baritone)
London Symphony Orchestra, Watson's George College Boys' Chorus, Ambrosian Singers
Claudio Abbado
Recorded: 1977-09-12
Recording Venue: St. John's, London

Overture (Prelude)

Track length3:31

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Introduction: "Sur la place chacun passe"

Track length2:09

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Regardez donc cette petite (Moralès, Les Soldats, Micaela)

Track length4:09

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Avec la garde montante (Choeur des Gamins)

Track length2:34

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Repos! (Zuniga, Moralès, Don José)

Track length0:45

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Allons! Allons! (Zuniga, Choeur des Gamins)

Track length1:37

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Dites-moi, brigadier? (Zuniga, Don José)

Track length1:06

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La cloche a sonné (Les Jeunes Gens, Les Soldats, Les Cigarières)

Track length5:12

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Mais nous ne voyons pas la Carmencita (Les Soldats, Les Jeunes Gens)

Track length0:45

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"Quand je vous aimerai?" - "L'amour est un oiseau rebelle" (Havanaise) (Carmen, Choeur)

Track length4:49

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Carmen, sur tes pas, nous nous pressons tous (Les Jeunes Gens, Les Cigarières, Don José)

Track length2:24

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"Monsieur le brigadier?" - "Parle-moi de ma mère!" (Micaela, Don José / Don José, Micaela)

Track length1:41

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Votre mère avec moi sortait de la chapelle (Micaela, Don José)

Track length2:19

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Ma mère, je la vois.. (Don José, Micaela)

Track length2:24

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"Que son fils l'aime et la vénère" - "Eh bien, eh bien!" (Don José, Micaela / Zuniga)

Track length4:04

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Au secours! (Les Cigarières, Zuniga, Les Soldats)

Track length3:19

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"Voyons, brigadier..." - "Tra la la la..." (Zuniga, Don José, Carmen / Carmen, Zuniga, Les Cigarières, Un Soldat, Don José)

Track length4:14

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Chanson et Duo: "Près des remparts de Séville"

Track length4:29

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Le lieutenant!... Prenez garde. (Don José, Zuniga, Carmen)

Track length2:06

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Entracte (between Act I & II)

Track length1:47

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Les tringles des sistres tintaient (Carmen, Mercédès, Frasquita)

Track length5:06

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Vous avez quelque chose à nous dire (Zuniga, Pastia, Frasquita, andrès, Mercédès, Carmen)

Track length1:15

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"Tout est bien alors" - "Vivat! vivat le toréro!" (Carmen, Zuniga / Choeur, Zuniga, Mercédès, Frasquita, Escamillo, Carmen, Andrès, Pastia)

Track length1:31

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"Votre toast... je peux..." - "Toréador, en garde" (Escamillo , tout le monde , Pastia , Zuniga , Carmen / Choeur, Frasquita, Pastia, Dancaire,

Track length8:00

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Nous avons en tête une affaire! (Dancaire, Frasquita, Mercédès, Remendado, Carmen)

Track length4:49

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"Amoureuse... ce n'est pas une raison" - "Halte-là! Qui va là?" (Dancaire,Remendado,Frasquita,Mercédès, Carmen / Don José,Mercédès,Frasquita,Dancaire,Carmen)

Track length2:33

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Je vais danser en votre honneur (Carmen, Don José)

Track length5:41

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La fleur que tu m'avais jetée (Don José)

Track length4:15

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Non, tu ne m'aimes pas! (Carmen, Don José)

Track length4:01

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Holà! Carmen! Holà! (Zuniga, Don José, Carmen, Dancaire, Remendado, Les Bohémiens)

Track length3:31

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Suis-nous à travers la campagne (Frasquita, Mercédès, Dancaire, Remendado, Les Bohémiens, Les Bohémiennes)

Track length1:48

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Entracte (Between Act II & III)

Track length3:00

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Écoute, compagnon, écoute! (les Contrebandiers, Frasquita, Mercédès, Carmen, Don José, Dancaire, Remendado)

Track length4:40

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Halte! nous allons nous arrêter ici! (Dancaire, Remendado, Don José, Carmen)

Track length1:29

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"Mêlons!" / "Mêlons!" / "Coupons!" (Frasquita, Mercédès)

Track length3:20

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Carreau! Pique!... La mort! (Carmen)

Track length3:20

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Parlez encore, parlez, mes belles (Frasquita, Mercédès, Carmen)

Track length0:49

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Eh! bien, j'avais raison. (Dancaire, Carmen, Remendado, Frasquita, Mercédès, Don José)

Track length0:30

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Quant au douanier, c'est notre affaire! (Carmen, Mercédès, Frasquita, Les Bohémiennes, Les Bohémiens, Dancaire, Remendado)

Track length3:07

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Nous y sommes (Le Guide, Micaela)

Track length0:43

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Je dis que rien ne m'épouvante (Micaela)

Track length4:50

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"Mais... je ne me trompe pas..." - "Je suis Escamillo, toréro de Grenade." (Micaela, Escamillo, Don José / Escamillo, Don José)

Track length3:42

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Holà, José! (Carmen, Escamillo, Dancaire, Don José, Les Contrebandiers, Les Contrebandières)

Track length3:00

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Halte! quelqu'un est là qui cherche à se cacher. (Remendado, Carmen, Dancaire, Don José, Micaela, Choeur)

Track length5:07

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Entr'acte

Track length2:10

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Choeur: "A dos cuartos!"

Track length2:23

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Les voici! voici le quadrille! (Choeur)

Track length3:51

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Si tu m'aimes, Carmen (Escamillo, Carmen, Frasquita, Mercédès)

Track length3:19

$1.10

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"C'est toi!" "C'est-moi!"

Track length9:24

$1.10

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Studio recording, 1977

Reviews

2010

This notable recording followed immediately on from the famous Faggioni production at the 1977 Edinburgh Festival, a staging finely observed enough still to remain with those who were there. In it Berganza declared her aim of rescuing the role from bad traditions and from its insults to Spanish womanhood. Her reading was restrained, haughty, but no less attractive and haunting for that. She developed the character, as she does on the recording, from carefree gypsy to tragic woman and, in doing so, is scrupulous in her obedience to Bizet's notes, rhythms and dynamics. Nothing is exaggerated yet nothing is left out in this sensuous but never overtly sensual portrayal, bewitchingly sung.
Maybe you don't feel the full engagement of her emotions in her entanglement with José, but better a slight reticence than overacting.
Migenes, on the Maazel set, is more immediately seductive, and occasionally more varied in tonal colouring, but Berganza is the more subtle artist. She works in keen rapport with Abbado, who brings clarity of texture, Mediterranean fire and intense concentration to the score.
You may find more elegance, more Gallic wit in, say, Beecham's famous EMI set, but only Maazel of other conductors comes near Abbado's emphasis on close-knit ensemble and histrionic strength – and both their sets come as the result of experience of 'real' performances.
Domingo benefits here, as on the Maazel in the same way, being more involved in affairs. Like his Carmen, he sometimes lacks variety of colour in his singing, but its sheer musicality and, in the last two acts, power, count for much. Sherrill Milnes is at once virile and fatuous as Escamillo should be. Cotrubas makes a vulnerable, touching Micaëla. The dialogue is heavily foreshortened compared to rival sets. Abbado chooses some of the questionable Oeser alternatives, but – apart from the one in the finale – they aren't disturbing. The recording is first-rate.

Bizet: Carmen

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