Music Details of Carmen

Dean affirms that Bizet's score is a masterpiece of dramatic detachment. Bizet never interposes himself between the audience and his characters whose sufferings move us without intervention. In this classical approach his model was his favourite composer, Mozart, though there are parallels with Verdi as well. Mozartian likewise is the compound of richness and clarity in the orchestration and the unfailing aptness of musical form to dramatic situation.

The Prelude of Carmen is in three sections: in A major the flamboyant Act IV ‘Spanish’ music of the bull-fight, then the ‘Toreador Song’, and finally a plunge into D minor and the motive marked by the augmented second, linked both to Carmen, and to Don José's fatal attraction to her, finishing on a diminished 7th chord.

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