Georges Bizet: Carmen Moffo, Donath, Cappuccilli (3 Cassette Set) German French

Description: Item available is: Georges Bizet: Carmen [ Anna Moffo Helen Donath Franco Corelli Piero Cappuccilli ] (3 Cassette Box Set). In German/French ? [Translated from German to English using Google Translate (may not be perfect) ] "Completerecording in French" "Chorus and Orchestra of the Deutsche Oper Berlin conductor Lorin Maazel" eurodisc STEREO 1. MusiCassette Track 1 26:20 FOREPLAY I. ACT No. 1 Introduction Morales, Micaela, male choir Sur la place, chacun passe (All the people are coming today) No. 2 March and Choir of the Street Boys Avec la garde montante (To line up with the guard) No. 3 chorus and scene Carmen La cloche a sonn (Did you hear it) No. 4 Habanera Carmen, chorus L'amour est un oiseau rebelle (Love is like a wild bird) No. 5 scene chorus, Carmen Carmen, sur tes pas, nous nous pressons tous (Carmen, please don't send us away again) Track 2 22:55 Nr. 6 Duet Don Jos, Micaela Tell me about my mother (Du kommst von meiner Mutter) Nr. 7 Chor, Zuniga Help! Help! (Polizei! Polizei!) No. 8 Chanson and melodrama Carmen, Zuniga Tralalala lalalala Nr. 9 Chanson und Duett Carmen, Don Jos Near the Walls of Seville (Drauen am Wall von Sevilla) Nr. 10 Finale Carmen, Zuniga This is the order (Hier der Haftbefehl) 2. Music Cassette 21:28 TRACK 1 INTERLUDE II. ACT No. 11 Chanson Carmen, Frasquita, Mercedes Les tringles des sistres tintaient (It leaves the choir of instruments) No. 12 Choir and Ensemble Zuniga, Frasquita, Mercedes, Carmen Vivat! vivat le torero! (cheers, cheers to the torero) No. 13 Couplet Escamillo, Frasquita, Mercedes, Carmen, Zuniga, male choir Votre toast, je peux vous le rendre (I resist such praise) No. 13b Chorus, Carmen, Zuniga, Escamillo Torador, en garde (Toreador, to battle) No. 14 Quintet Frasquita, Mercedes, Carmen, Remendado, Dancairo Nous avons en tte (Here in my head) No. 15 Chanson Don Jos Hold la! Qui va la? (Hey, holla! Who's walking?) LANE 2 26:00 No. 16 Duet Carmen, Don Jos Je vais danser en votre honneur (I dance for you alone) No. 17 Finale Carmen, Don Jos, Zuniga, Frasquita, Mercedes, Dancairo, Remendado, Chor Hol! Carmen! (Hello! Carmen!) INTERLUDE III. ACT 1ST IMAGE No. 18 Introduction Frasquita, Mercedes, Carmen, Don Jos, Dancairo, Remendado, Chor coute, coute! (Just rest, just rest) 3. Music Cassette 26:25 TRACK 1 No. 19 trio Frasquita, Mercedes, Carmen Mlons! Melons! (shuffle! shuffle!) No. 20 Ensemble Frasquita, Mercedes, Carmen, Dancairo, Remendado, Chor Quant au douanier, c'est notre affaire (Yes, the customs ones are easy to take) No. 21 Aria Micaela Je dis que rien ne m'pouvante (I pretended nothing touched me) No. 22 Duet Escamillo, Don Jos Je suis Escamillo (I am Escamillo after all) No. 23 Finale Carmen, Escamillo, Dancairo, Don Jos, Remendado, Micaela, Choir, Frasquita, Mercedes Hola! Hola! Jose! (Holla! Holla! Jose!) Track 2. 20:46 INTERLUDE III. ACT 2nd IMAGE Nr. 24 Chor, Zuniga A deux cuartos! A deux cuartos! (Two pesetas! Two pesetas!) No. 25 Chorus and Scene Escamillo, Carmen, Frasquita, Mercedes Les voici! Les voici! (They are there! They are there!) No. 26 Duet - Finale Carmen, Don Jos, Choir C'est toi! - C'est moi! (Jos! - Yes, me!) Opera in 3 acts Based on the novel by Prosper Mrime by Henri Meilhac and Ludovic Halvy complete recording of the original version in French Zuniga Lieutenant. . . .Joseph van Dam Bass Jose' Sergeant. . . .Franco Corelli Tenor: Morals Sergeant. . . . Barry McDaniel Bariton Escamillo Stierfchter. . . . Piero Cappuccilli Baritone Dancairo Schmuggler. . . . Jean-Christophe Benoit Tenor Remendado smuggler. . . . Karl-Ernst Mercker Tenor Carmen . . . . Anna Moffo Soprano Frasquita. . . . Arleen Augr Soprano Mercedes . . . . Jane Berbi Soprano Micaela. . . . Helen Donath soprano Innkeepers, soldiers, street urchins, cigarette workers, gypsies, smugglers, folk Place and time: Seville and environs, 1820 The Chorus of the Deutsche Oper Berlin Preparation: Walter Hagen-Groll The Schneberg Boys' Choir (Producer: Gerhard Hellwig) The Orchestra of the Deutsche Oper Berlin Overall musical direction: Lorin Maazel French rehearsal: Madame Nadia Godda-Nova from the Opra Comique Paris Production: Fritz Ganss Also available as a cassette with 3 long-playing records 80 489 XGR eurodisc LC0202 >Source vrit, mais quel scandale! - What truth, but what a scandal too!<< The contemporary critic's verdict on the Paris premiere of "Carmen"< on March 3, 1875 was not so much a verdict as a prudent grasp of the core problem, which alone was George's Bizet had to deal with: the reality, the truth of the life and fate of one, no: several people, whom the dramatist placed on the music stage with the visionary objectivity of genius without judgment, but also without any embellishment or consideration. This is probably the real reason for the rejection and indignation of the premiere audience at the time, who expected the usual culinary delights and were instead shocked by the disillusioning, bitter reality of a story, the focus of which was Carmen, a >femme fatale. As if that wasn't enough, he also offered encounters with "ordinary factory workers, prostitutes, deserters and asocial elements" before his events "ended in murder and manslaughter without any operatic transfiguration" (Fritz Oeser in the draft report of his critical new edition of the opera in 1964 in the Alkor Edition, Kassel, to whom this article owes some of the inspiration). However, Carmen was not just the impulsive, amoral being in the bourgeois sense (the first in the series Salome, Turandot, Lulu) who brought misfortune to everyone who chained her to her. Carmen (whose name has to be stressed correctly on the second syllable) was at the same time the elementary, erotically fascinating child of nature, who carried the law of his actions and life within himself and obeyed only this, was animated by an irrepressible will to freedom, which became his fate . The reaction of the Paris audience in 1875, which in the end resembled an icy silence rather than a loud scandal, can hardly be surprising given the subject, and it would be unfair to expect the same insight and tolerance from the listeners of the time that even almost a century later are not yet a matter of course. For the sharpness and clarity of the drawing, the closeness to reality of the work, the truthfulness of the feelings and characters, of the plot and landscape signified not only the - one must say revolutionary - renewal of the French Opra Comique, but at the same time the equally brusque rejection of the pathos of the Grand Opra and Wagnerian music drama. All the more grotesque is the accusation that most critics of Bizet's stroke of genius that he was Wagnerian at the time, and which probably affected the composer more than the general misunderstanding or incomprehension. His sudden death on June 3, 1875, only three months later, prevented Bizet from experiencing the change of opinion as a result of the premiere of "Carmen" in Vienna on October 23, 1875 and the metamorphosis of the scandal into a performance furioso, which made >>Carmen<< the most performed of all operas within a short time. On the other hand, his early death spared him from having to witness the growing misunderstanding, more correctly, the falsification of his work, to which Carmen's triumphal procession over the world's stages was in no small part due. What is meant is the re-stylization of the Opra Comique into a romantic ">grand opera", which destroys the masterly balance between its musical and prose dialogue complexes, blurs the sharp contours of the characters, reduces the elementary immediacy and fateful inevitability of the plot, the bitterness and realism of scenic naturalism were defused into an operatic gypsy drama of romantic provenance. There may have been plausible, practical performance considerations and reasons for the means used for the strokes, sound retouching, ballet interludes and post-composed recitatives, which over the decades have become stage traditions, so to speak. However, all traditions cannot hide the duty of the present, the previous appearance of a comfortably enjoyed >>Carmen<< in Bizets. To revise the meaning, that is, to regain the original version of today's music theater. Only then does it become completely clear and conscious of what made Bizet's masterpiece so unique at the time: >>Carmen was anything but a typical opera. For this reason alone this stroke of genius caught the audience unprepared, but despite all its originality it should be added that the work did not resemble a phoenix rising from the ashes, but was the inevitable result of the musician's inner development. Of course, this does not detract from the originality of the music, nor does the historical merit of the authors Meilhac and Halvy of having created a libretto that is equally masterful in terms of scenic disposition and linguistic detail. Even today, the original French version is one of the strongest operatic poems that exist. Both librettists, who had been working together since 1861 and, among other things, had provided the templates for Jacques Offenbachs best operettas, were just as talented as they had stage experience, which benefited their adaptation of the Mrime novella or, more correctly, its 3rd chapter with Joss confession and tragedy. Because they didn't leave it at the mere dramatization of the original, i.e. with its inevitable abridgement and tightening, despite repeated literal references. Their experiences are reflected above all in the selection and leadership of the people involved, from whose circle insignificant marginal figures (such as the smugglers) were eliminated, others around are newly introduced for the sake of more colorful contrast. Bizet's work on the libretto and score extended from June 1872 to the days immediately before the premiere on March 3, 1875. Due to a lack of corresponding documents, it cannot be documented in detail, but the works that were also composed during this period suggest correspondingly long interruptions . The main work should have fallen in 1874, especially since The main work must have been done in 1874, especially since the premiere was originally planned for the autumn of that year. Its postponement (for an unknown reason) finally seems to have opened the last, irritating creative stage, which, through rehearsals, requests for additions and changes, and repeated quarrels, resembled a veritable crossroads that the musician's badly strained nerves only endured with difficulty. The end is known. One can only guess how many imponderables worked together to make the world premiere, from the alleged immorality of the material and its tragic ending to the novelty of the music and the unusually long breaks between the last scenes. In the long run, however, none of them was able to prevent the triumph of the "Carmen" in which Bizet had believed from the start. The history of the performance practice of Bizet's >>Carmen<< calls for two final remarks. Instead of chorus No. 24, which opens the last scene of the opera before the entrance to the bullring, Bizet's friend and artistic executor Ernest Guiraud planned a ballet interlude after the composer's death, which he put together from compositions from other works. While this was obviously a tribute to contemporary taste or Parisian custom, there was a practical reason for replacing spoken dialogue with recitatives. Guiraud also recomposed this with fine stylistic empathy for the Vienna premiere in 1875. Because for Vienna, Bizet's original prose dialogue proved to be an almost unachievable requirement in terms of speaking technique and acting qualities of the singers - which has basically changed little to this day. It remains to be seen whether Guiraud was aware of the consequences of his intervention - namely the alienation of the work into a grand opera and the sensitive loss of psychological significance and comprehensibility of the events. Because this is not the place to judge, but to state that he thereby facilitated the spread of the opera outside of France, where the recitatives quickly became To this day, however, they have often become an integral part of the score without knowledge of their provenance and problems. The recourse to Bizet's original version, which the present recording follows, is therefore more than a question of faithfulness to style. It's a confession. EKKEHART KROHER The plot Act 1: A square in front of a factory in Seville, opposite the guardhouse of a dragoon barracks. Sergeant Don Jos has just gone on guard duty with his lieutenant Zuniga. Workers from the factory flock to the square, including Carmen. She sings her famous habanera "L'amour est un oiseau rebelle"< and throws a flower at Don Jos. But then Micaela appears, bringing greetings from his mother to Jos and asking her to tell her: >> Parle-moi de ma mre! Micaela leaves and Jos secretly decides to marry her. Screams come from the factory, Carmen has attacked a colleague with a knife. Jos is hired to take her to jail. On the way there, Carmen declares her love for him with the seguidilla Prs des remparts de Sville. Jos catches fire and releases Carmen. Act 2: In the tavern of Lillas Pastilla. Fraquita and Mercedes accompany Carmen's singing. From outside you can hear shouts >> Vivat! vivat le torero"; Escamillo, the famous torero, enters and returns the greeting: >Votre toast, je peux vous le rendre. He takes a liking to Carmen, but she remains reserved. Late in the evening, Carmen, Frasquita and Mercedes are sitting in the tavern with two smugglers, Dancairo and Remendado. Jos appears and confesses his love to Carmen in the aria >>La fleur que tu m'avais jete<. Carmen asks him to stay. A duel between him and Zuniga, who is also after Carmen, makes the decision for him; before the impending court-martial, he flees into the mountains. Act 3: A place in the mountains where the smugglers are staying, including Carmen and Don Jos. Carmen joins Mercedes and Frasquita, who read the cards for the future: >>Mlons! Coupons!< Carmen draws spades and diamonds, but she appears unimpressed: >En vain pour viter les rponses amres and joins the girls in a satirical song about the customs officers: Quant au douanier c'est notre affaire.< Together they set off with the smugglers; Don Jos stays and keeps watch. Micaela approaches the camp looking for Don Jos and Carmen, whom she wants to confront: Je dis que rien ne m'pou vante<<. Meanwhile, Escamillo shows up at the camp. When Don Jos learns that he came because of Carmen, he challenges him to a duel. The returning smugglers separate the two combatants. Micaela's news that Don Jos's mother is dying moves him to go with her. Act 4: The square in front of the bullfighting arena in Seville, people flock to the bullfight. Carmen and Escamillo meet in front of the arena and assure each other of their love. Frasquita and Mercedes warn Carmen about Jos. Gendarmes pave the way for the mayor to the arena: >>Place, place au Seigneur Alcalde.<< Carmen meets Don Jos, who in a passionate duet >>C'est toi? - C'est moi<< asks to return to him. When Carmen refuses, he stabs her, blinded by jealousy, while in the arena the crowd cheers the victorious torero. Distributed by Ariola-Eurodisc GmbH Printed in Western Germany by Mohndruck Reinhard Mohn GmbH, Gtersloh Design: Ariola-Eurodisc/Atelier (Note: box may have minor imperfections due to handling and storage) Stored in a smoke and animal free environment. Shipping with USPS First Class or Priority Mail; or, FedEx/UPS. 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End Time: 2025-01-15T22:35:43.000Z

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