Carmen GEORGES BIZET
Synopsis
ACT I
The townspeople scurry by as uniformed soldiers gather at the town square in Seville, Spain. At lunch time, the women who work at the cigarette factory take a break and join the people in the square. Among them is Carmen, a beautiful gypsy, who sings a saucy song about love that obeys no rules. All of the men are infatuated with her except one, Don José, a simple soldier who is awaiting the arrival of his sweet Micaëla. Carmen is accustomed to having all the men focused on her and turns her attention to Don José, the only soldier who is not immediately drawn to her beauty.
When it is time for the cigarette women to return to work, Micaëla gives Don José a note from his sick mother urging him to marry Micaëla. However, as soon as he confirms his commitment to Micaëla, everyone rushes to the town square screaming and shouting about a fight that has just broken out at the factory. All evidence shows that Carmen started the fight that injured a fellow worker. Don José is ordered to arrest Carmen and bring her to prison. While he is waiting for the arrest warrant, Carmen flirts with him
and convinces him to let her escape so that they can go dancing together that night. Don José agrees and unties her. However, when the other soldiers return and see what Don José has done, he is arrested for freeing Carmen.
ACT II
After Carmen’s escape, she meets with a group of gypsies and soldiers who celebrate by singing and dancing at the tavern of Lillas Pastia. Carmen is told that Don José will be released from prison that evening. While they are celebrating, they hear a parade that is passing by honoring the handsome bullfighter Escamillo. Escamillo sings about the excitement of being a bullfighter as the people cheer him on. He is immediately awestruck by Carmen and although she is impressed with him, she still saves her affection for Don José -after all he bravely risked prison for her. When the crowd departs, two male gypsies ask Carmen to help them with a smuggling job, but she refuses because she is waiting for Don José.
Don José arrives and becomes enraged with jealousy after he hears that Carmen has danced for the other soldiers. She then begins to dance for Don José until the bugles announce the
soldiers’ retreat. Carmen accuses Don José of being a coward for choosing to follow orders rather than her. Suddenly, Lieutenant Zuniga arrives at the tavern to see her which throws Don José in a jealous rage. A fight between the two men erupts and Lt. Zuniga is finally handcuffed. Since fighting with an officer is a serious crime, the smugglers encourage Don José to flee with them to the mountains. Don José has no choice but to accept and joins Carmen and the gypsies.
ACT III
Carmen, Don José, and the gypsy smugglers arrive at their hideout high up in the mountains where Don José reflects on missing his mother and home town. Carmen, who has now fallen out of love with him, taunts him and suggests that he go back home. Carmen joins her two gypsy friends who are telling fortunes with a deck of cards. Although the two friends pull cards of good fortune for themselves, Carmen’s card predicts death.
After their departure, Micaëla arrives to find Don José guarding the hideout. She hides when she hears a gun shot fired by Escamillo who is looking for Carmen. After making Don José extremely jealous, Escamillo and Don
Student Look-In Guide
José begin to fight. Before the fight gets too serious, the gypsies return and break it up. Escamillo invites everyone, especially Carmen, to come to his next bullfight. Micaëla, who has been hiding all this time, tries to convince the distraught Don José to return home. Although he refuses at first, he finally gives in when Micaëla explains that his mother is dying. As he is leaving with Micaëla, he promises Carmen that he will return. In the distance Escamillo’s voice is heard.
ACT IV
At the arena, Carmen and Escamillo arrive together for the bullfight. Carmen is warned that Don José is near and is plotting against her. She decides to stay outside the arena to set things right once and for all. As the bullfight is taking place, Don José finds Carmen and begs her for her love. She explains that she is no longer in love with him and throws the ring he had given her at him. He is infuriated by her change of heart and stabs her just as Escamillo kills the bull inside the arena.
Composer: Georges Bizet
Born into a musical family, Georges Bizet inherited his parents’ talents. Bizet was born on October 25, 1838 and learned to read and write music by age four! Georges had the huge honor of being admitted into the Paris Conservatoire de Musique at nine years old. Bizet continued to awe people when he wrote his first symphony at the age of seventeen, a class assignment at the conservatory. Paris, a city known for high fashion, fine food, and culture was the perfect place for a young composer because it attracted talented musicians and eager audiences. As a young man, Bizet worked at the Opéra Comique, where he learned about the backstage, sets, lights, performers, and musicians. However, when the curtain went up for the premier of Carmen, people were shocked and dismayed by the dramatic and risqué story. In fact, Carmen did not gain popularity until after Bizet’s early death at age thirty-seven on June 3, 1875. Even though Carmen is now considered a classic in opera repertoire, sadly, Georges Bizet died thinking his work was a complete disaster.
Why Is Carmen Still Popular Today?
Although Carmen premiered in 1875, the opera has maintained its popularity because of its incredibly real characters and the intense emotions that they express. These characters think and act in ways in which people can identify with. Carmen is beautiful, powerful, independent, passionate, and makes her own rules. She has a spunk that many people admire and wish to have.
Carmen also stirs the imagination with the exotic: the mixture of cultures depicted in the opera creates wonderful imagery and vibrant
characters. Perhaps most importantly, the music and the rhythms are so unforgettable that it is often referred to and updated today. Below, are some examples of Carmen that are reflected in today’s films, TV, and music.
Carmen in Modern Reference
MOVIES
• Gypsy Blood (1918) – a silent film based on the plot and accompanied by the music of Carmen
• Carmen Jones (1954) – Musical staring Dorothy Dandridge and Harry Belafonte and uses Bizet’s melodies but updating the setting
• Bizet’s Dream (1994) Movie in which a girl takes piano lessons from and becomes close with Bizet while he is writing Carmen.
• Carmen: A Hip Hopera (2001) with Beyoncé Knowles. An MTV movie with the main plot of Carmen set in a modern city.
CARTOONS
• Sesame Street: Samuel Ramey sings “L Toreador”
• Sesame Street: Denyce Graves sings a “Habanera” lullaby to Elmo.
• Tom and Jerry: cartoon with Carmen theme.
• Muppets: Habanera song by the Dutch chef and Beaker.
COMMERCIALS
• Pepsi commercial featuring Beyoncé Knowles singing Pepsi Habanera
BALLET
• Carmen choreographed by Roland Petit, starring Mikhail Baryshnikov -available in the dance anthology film Black Tights.
FLAMENCO FlamencoA Spanish Folk Art
When Gitanos arrived in Spain, they brought with them their traditions of dance and music. One of the most influential and lasting elements of Gitano culture in Spain is flamenco Flamenco is a folk art from the Andalusia province of southern Spain. Flamenco involves the playing of guitars, singing (sometimes in the native language of Caló), and dancing by either men or women. Rhythmic hand clapping, foot stomping by the dancers, and call and responses from the musicians are the characteristics of traditional flamenco dance and music.
In the early 20th century, flamenco songs also known as canté became
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immensely popular. Many people would join the performers at local music cafes called Café Cantantes and sing songs of protest, love, death, and humor. Flamenco became the voice of Gitanos who often felt left out of the society. Today, Flamenco is as popular as ever with local Spaniards and tourists alike visiting new Café Cantantes and appreciating the beauty of this art form.
Music and Motifs in Carmen
Have you ever heard music that makes you think of a certain person or feeling? Consider a TV commercial for example. There are songs in commercials that never fail to remind you of that particular soda or restaurant. There are also tunes that tell you something scary is about to happen. Do you know the tune for when a shark is lurking near by? “Duh nuh… duh nuh… Duh nuh! Duh nuh! Duh nuh!!!” (Ask your teacher or parents about this song if you do not know it. I bet you will recognize it!) All of
knows that Don José loves Carmen even though he knows it will end badly. The music sounds as though it is saying, “I can’t help loving you.”
Ask your teacher to play the top line of the “fate” motif. Sometimes it is played quickly in the opera and other times it is played slowly. There are also times when it is sung and times when it is only played by the violins. Can you learn to hum this famous motif?
Thinking Before You Act
All our actions are followed by consequences. At the beginning of the opera, Don José was respectable, composed, and, rational -everything that was expected of a 19th century man. However, under Carmen’s influence, he became rash and impulsive. He did not carefully consider the consequences of his actions and instead let his emotions control him. He helped Carmen escape from jail
WASHINGTON, D.C.
Did you know that Washington, D.C. hosts an annual flamenco festival? For more than seven years, the Flamenco Festival U.S.A. has allowed audiences to experience first hand the captivating rhythms of flamenco through music and dance. Check your local newspapers for the upcoming festival this winter.
Questions To Consider:
Do you think Don José’s impulsive actions are justified? Why or why not? What is the importance of thinking before you act? Is there a difference between acting on instincts and acting impulsively.
are thought to have been introduced in Western Europe by the Gypsies in the mid-1400s, though their exact origins are unknown. In some countries, they are used for playing card games, although they are mainly used for fortune-telling. The cards are not associated with any religion, nor do they involve any sort of worship. Many people consider tarot cards to
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be harmless fun, but there are those who believe so strongly in them that they have frequent card readings to prepare themselves for the future. There are 78 cards in a typical deck, with 56 resembling a traditional deck of cards. The cards are divided into four suits: wands, cups, swords, and coins. The remaining 22 cards are called the major arcana, which are picture cards. These cards are individually named and have no suits. They include The Fool, The Hermit, Justice, Temperance, The Emperor, and other personalities. They can be read in a variety of ways, based on the reader’s preferences or beliefs.
Classic Style
Bullfighting
For centuries, the action, spectacle, and romance of bullfighting has been a part of Spanish culture and has even spread to Portugal, France and several countries in Latin America. Bullfighting is often linked to ancient Roman practices in which humans
fought animals for entertainment leading up to the gore of the gladiator fights. From Rome, the sport spread to Spain and her South American
colonies and to France where it developed its own characteristics.
The classic style is called corrida de toros (the running of the bulls) or fiesta brava (the ferocious festival). During each corrida, there are different matadors who are responsible for fighting and showing his artistry against the bull. The matador’s grace in the arena is highlighted by his elaborate clothing which includes a very colorful short waisted jacket, white shirt, tie, belt, and montera (hat). The matador wears this beautiful and colorful outfit, which is often called the traje de luces or “suit of lights,” with great pride.
Bullfighting is divided into three different stages beginning with the tercio de varas (the lancing third). During this stage, the matador confronts the bull to observe its behavior while the picador enters the arena on horseback. The picador is responsible for testing the bull’s strength by using a lance or small sword that is charged into the large muscle on the bull’s back. This allows the matador to observe on which side the bull is stronger. During the next stage, the tercio de banderillero, the banderillero (the carrier of the little flags) enters. By coming as close to the bull as possible, he is responsible for attracting the bull to the colorful flags. The banderillero’s bravery is judged by the enthusiastic cheers and uproar from the crowd. The third and final stage is the tercio de muerte or the death of the bull. The matador confidently returns to the arena with a small red cape and sword. He sways the cape to attract the bull to different passes which the bull runs through. As the bull runs through the cape, the matador maneuvers the bull into different positions. The matador is demonstrating his control over the bull while risking his own his life. As the bull runs through the cape, it’s customary in Spanish speaking countries for the
crowd to cheer olé especially if the matador has done very well. As the matador positions the bull, he attempts to stab the bull between the shoulder blades and then through the aorta or heart. If the matador has done exceptionally well, he will receive a standing ovation with hundreds of roses and hats thrown to his feet to show appreciation of the matador’s courage, strength, and artistry.
Changing Attitudes Of Bullfighting
Bullfighting is still a part of Spanish tradition today, but in recent years many people have protested this aspect of Spanish culture. Animal rights activist claim that bullfighting is a cruel blood sport because the bulls are tortured and used for entertainment purposes. However, many people also believe that bullfighting exhibits the artistry and strength of the matador and is a long tradition within Spanish culture. Last year, state-run Spanish television banned live coverage of bullfighting because many people thought the sport was too violent for children.
Did You Know?
• That bulls are colorblind? It is a myth that bulls are angered by seeing the color red.
• If a bull performs admirably and fights bravely, the bull’s life can be spared and he is returned to the ranch where he originally lived.
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Saturday, November 15, 2008 - 11:30 a.m. - Kennedy Center Opera House
Washington National Opera’s Family Look-In is a wonderful way to introduce children, ages 6-15, to the magical world of opera. Join Conductor Plácido Domingo, ABC 7’s Maureen Bunyan, and WNO’s Domingo-Cafritz Young Artists in fully staged scenes!
$10 or $15 youth tickets
$15 - $35 adults tickets
Order yours today!
202.295.2400 or 800.US.OPERA or visit www.dc-opera.org.
Each order receives an informative and entertaining Carmen study guide and CD Commentary.
Join Washington National Opera throughout the season for exciting programs for students and families of all ages.
• Girl Scouts ages 7 and up can earn their Art of Opera patch by attending a Saturday workshop program on October 25 or November 1, 2008. Registration form is available on the website at www.dc-opera.org
• Children 4-10 years and their families can explore opera through a hands on workshop by attending one the upcoming Library Programs. Check your local library for upcoming fall dates.
• Middle and High School students can experience live opera by attending the Student Dress Rehearsal Program featuring the operas Peter Grimes, Siegfried, and Turandaot. To register your class visit the Kennedy Center’s website at www.kennedy-center.org.
For questions or registration information contact the Education and Community Programs Department at 202.448.3465 or education@dc-opera.org
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EDUCATION AND COMMUNITY PROGRAMS ARE MADE POSSIBLE BY THE GENEROUS SUPPORT OF THESE FUNDERS:
$100,000 and above
Mars Incorporated
D.C. Commission on the Arts and Humanities
$50,000 and above
Mr. and Mrs. John Pohanka
$20,000 and above
John and Cora H. Davis Foundation
Friedman Billings Ramsey
The Morningstar Foundation
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The Washington Post Company
$5,000 and above
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i-Education Holdings
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$2,500 and above
Mr. Walter Arnheim
The Max and Victoria Dreyfus Foundation Industrial Bank
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$1,000 and above
Bob Craft
CareFirst BlueShield
Dr. and Mrs. Ricardo Ernst
Justice Ruth Bader Ginsburg and Professor Martin Ginsburg
Horwitz Family Fund
Founded in 1956, Washington National Opera is recognized today as one of the leading opera companies in the United States. Under the leadership of General Director Plácido Domingo, Washington National Opera continues to build on its rich history by offering productions of consistently high artistic standards and balancing popular grand opera with new or less frequently performed works.
As part of the Center for Education and Training at Washington National Opera, Education and Community Programs provides a wide array of programs to serve a diverse local and national audience of all ages. Our school-based programs offer students the opportunity to experience opera first hand -through in-depth, yearlong school partnerships, the acclaimed Opera Look-In, the District of Columbia Public Schools Partnership, and the Kids Create Opera Partners (for elementary schools), and the Student Dress Rehearsal (for high schools) programs. Opera novices and aficionados alike have the opportunity to learn about the season through the Opera Insights series, presented on the Kennedy Center Millennium Stage. All Insights are free, open to the public, and archived on the Kennedy Center website. Outreach to the greater Washington D.C. community is achieved through our numerous public Library Program, the Family Look-In, and the Girl Scout Program
For more information on the programs offered by Washington National Opera, please visit our website at www.dc-opera.org. or contact Education and Community Programs at 202.448.3465 or education@ dc-opera.org
Some students at today’s event are participating in the Arts for Every Student Program, an initiative of the DC Arts and Humanities Education Collaborative.
CREDITS
Lead Writer and Editor
Stephanie M. Wright, Assistant Director of Education and Community Programs
Additional Authors:
Christiane DeVries, Education and Community Programs Associate
Carol Dory, Education Intern
Dhivya Krishnan, Education Intern
Paulena Papagiannis, Education Intern
Editors:
Michelle Krisel, Director for the Center for Education and Training
Catherine Zadoretzky, Publications Editor
Graphic Design:
Ceci Dadisman
CeciCreative
General Director
Placido Domingo
