Act I: The curtain rises with a pedal F which resolves to a tonic B flat only at the first cadence of the chorus; Moralès's solo leads back to a repeat of the chorus. After Micaëla's entry to a chromatic figure in the strings, the soldiers sing a mock military march (in E) to inform her about José's return at the change of guard. She mimics this chorus but jumps to G major as she leaves. The pantomime for Moralès (Bizet composed three versions for Duvernoy) was performed at the first 30 performances until cut, possibly with Bizet's consent, at the end of May 1875.
Act II: contains the song for José later in Act II when he approaches the tavern. The Act opens with a Gypsy song in E minor and celebrates Carmen's singing and dancing.
The ‘fate’ theme on the cor anglais leads to a wide-raging solo – the ‘flower song’, where his passion for Carmen is more profound than his love for Micaëla ever was; the modulation in the last bars show his emotions have grown beyond his control. This long sequence which includes Carmen's dance, her quarrel with José, his flower song and the duet ‘La-bas, la bas dans la montagne’ – which Bizet refused to break into sections for applause and which leads straight into the finale – is a miracle of musical and dramatic development without recourse to recitative.
Act III: The second entr’acte paints the landscape of Act with a serene arching melody on the flute over a harp accompaniment, with other instruments entering to converse with the flute. The act opens with a furtive march for the smugglers, who join in during the ‘trio’ section, their sliding back portrayed by a series of descending chromatic chords.
Act IV: Act IV is the most exotic, with sharp rhythms, exotic percussion, chromaticism and descending tetrachords. A sense of excitement is generated with constant quaver accompaniment; as the toreros enter, the crowds celebrate with the theme from the opening of the Prelude.
Carmen Tickets are available on Sold Out Ticket Market at affordable rates.
Check out Ticket Market for Carmen Tickets.
Act II: contains the song for José later in Act II when he approaches the tavern. The Act opens with a Gypsy song in E minor and celebrates Carmen's singing and dancing.
The ‘fate’ theme on the cor anglais leads to a wide-raging solo – the ‘flower song’, where his passion for Carmen is more profound than his love for Micaëla ever was; the modulation in the last bars show his emotions have grown beyond his control. This long sequence which includes Carmen's dance, her quarrel with José, his flower song and the duet ‘La-bas, la bas dans la montagne’ – which Bizet refused to break into sections for applause and which leads straight into the finale – is a miracle of musical and dramatic development without recourse to recitative.
Act III: The second entr’acte paints the landscape of Act with a serene arching melody on the flute over a harp accompaniment, with other instruments entering to converse with the flute. The act opens with a furtive march for the smugglers, who join in during the ‘trio’ section, their sliding back portrayed by a series of descending chromatic chords.
Act IV: Act IV is the most exotic, with sharp rhythms, exotic percussion, chromaticism and descending tetrachords. A sense of excitement is generated with constant quaver accompaniment; as the toreros enter, the crowds celebrate with the theme from the opening of the Prelude.
Carmen Tickets are available on Sold Out Ticket Market at affordable rates.
Check out Ticket Market for Carmen Tickets.
No comments:
Post a Comment