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.