BIZET.
Georges Bizet was born at Paris, Oct. 25, 1838, and in an artistic atmosphere, as his father, an excellent teacher, was married to a sister of Mme. Delsarte, a talented pianist, and his uncle, a musician, was the founder of the famous Delsarte system. He studied successively with Marmontel and Benoist, and subsequently took lessons in composition from Halevy, whose daughter he afterwards married. His first work was an operetta of not much consequence, "Docteur Miracle," written in 1857, and in the same year he took the Grand Prix de Rome. On his return from Italy he composed "Vasco de Gama" and "Les Pecheurs de Perles," neither of which met with much success. In 1867 "La Jolie Fille de Perth" appeared, and in 1872, "Djamileh." During the intervals of these larger works he wrote the Patrie overture and the interludes to "L'Arlesienne," a very poetical score which Theodore Thomas introduced to this country, and both works were received with enthusiasm. At last he was to appreciate and enjoy a real dramatic success, though it was his last work. "Carmen" appeared in 1875, and achieved a magnificent success at the Opera Comique. It was brought out in March, and in the following June he died of acute heart-disease. He was a very promising composer, and specially excelled in orchestration. During his last few years he was a close student of Wagner, whose influence is apparent in this last work of his life.
CARMEN.
"Carmen," an opera in four acts, words by Meilhac and Halevy, adapted from Prosper Merimée's romance of "Carmen," was first produced at the Opera Comique, Paris, March 3, 1875, with Mme. Galli-Marie in the title-rôle and Mlle. Chapuy as Michaela. The scene is laid in Seville, time 1820. The first act opens in the public square, filled with a troop of soldiers under command of Don José, and loungers who are waiting the approach of the pretty girls who work in the cigar-factory near by, and prettiest and most heartless of them all, Carmen. Before they appear, Michaela, a village girl, enters the square, bearing a message to Don José from his mother, but not finding him departs. The cigar-girls at last pass by on their way to work, and with them Carmen, who observes Don José sitting in an indifferent manner and throws him the rose she wears in her bosom. As they disappear, Michaela returns and delivers her message. The sight of the gentle girl and the thought of home dispel Don José's sudden passion for Carmen. He is about to throw away her rose, when a sudden disturbance is heard in the factory. It is found that Carmen has quarrelled with one of the girls and wounded her. She is arrested, and to prevent further mischief her arms are pinioned. She so bewitches the lieutenant, however, that he connives at her escape and succeeds in effecting it, while she is led away to prison by the soldiers. In the second act Carmen has returned to her wandering gypsy life, and we find her with her companions in the cabaret of Lillas-Pastia, singing and dancing. Among the new arrivals is Escamillo, the victorious bull-fighter of Grenada, with whom Carmen is at once fascinated. When the inn is closed, Escamillo and the soldiers depart, but Carmen waits with two of the gypsies, who are smugglers, for the arrival of Don José. They persuade her to induce him to join their band, and when the lieutenant, wild with passion for her, enters the apartment, she prevails upon him to remain in spite of the trumpet-call which summons him to duty. An officer appears and orders him out. He refuses to go, and when the officer attempts to use force Carmen summons the gypsies. He is soon overpowered, and Don José escapes to the mountains. The third act opens in the haunt of the smugglers, a wild, rocky, cavernous place. Don José and Carmen, who is growing very indifferent to him, are there. As the contrabandists finish their work and gradually leave the scene, Escamillo, who has been following Carmen, appears. His presence and his declarations as well arouse the jealousy of Don José. They rush at each other for mortal combat, but the smugglers separate them. Escamillo bides his time, invites them to the approaching bullfight at Seville, and departs. While Don José is upbraiding Carmen, the faithful Michaela, who has been guided to the spot, begs him to accompany her, as his mother is dying. Duty prevails, and he follows her as Escamillo's taunting song is heard dying away in the distance. In the last act the drama hurries on to the tragic dénouement. It is a gala-day in Seville, for Escamillo is to fight. Carmen is there in his company, though her gypsy friends have warned her Don José is searching for her. Amid great pomp Escamillo enters the arena, and Carmen is about to follow, when Don José appears and stops her. He appeals to her and tries to awaken the old love. She will not listen, and at last in a fit of wild rage hurls the ring he had given her at his feet. The shouts of the people in the arena announce another victory for Escamillo. She cries out with joy. Don José springs at her like a tiger, and stabs her just as Escamillo emerges from the contest.
Carmen is the largest and best-considered of all Bizet's works, and one of the best in the modern French repertory. The overture is short but very brilliant. After some characteristic choruses by the street lads, soldiers, and cigar-girls, Carmen sings the Havanaise ("Amor, misterioso angelo"), a quaint song in waltz time, the melody being that of an old Spanish song by Tradier, called "El Aveglito." A serious duet between Michaela and Don José ("Mia madre io la rivedo") follows, which is very tender in its character. The next striking number is the dance tempo, "Presso il bastion de Seviglia," a seguidilla sung by Carmen while bewitching Don José. In the finale, as she escapes, the Havanaise, which is the Carmen motive, is heard again.
The second-act music is peculiarly Spanish in color, particularly that for the ballet. The opening song of the gypsies in the cabaret, to the accompaniment of the castanets ("Vezzi e anella scintillar"), is bewitching in its rhythm, and is followed in the next scene by a stirring and very picturesque aria ("Toreador attento"), in which Escamillo describes the bull-fight. A beautifully written quintet ("Abbiamo in vista"), and a strongly dramatic duet, beginning with another fascinating dance tempo ("Voglio danzar pel tuo piacer"), and including a beautiful pathetic melody for Don José ("Il fior che avevi"), closes the music of the act.
The third act contains two very striking numbers, the terzetto of the card-players in the smugglers' haunt ("Mischiam! alziam!"), and Michaela's aria ("Io dico no, non son paurosa"), the most effective and beautiful number in the whole work, and the one which shows most clearly the effect of Wagner's influence upon the composer. In the finale of the act the Toreador's song is again heard as he disappears in the distance after the quarrel with Don José.
The last act is a hurly-burly of the bull-fight, the Toreador's taking march, the stormy duet between Don José and Carmen, and the tragic dénouement in which the Carmen motive is repeated. The color of the whole work is Spanish, and the dance tempo is freely used and beautifully worked up with Bizet's ingenious and scholarly instrumentation. Except in the third act, however, the vocal parts are inferior to the orchestral treatment.