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CARMEN
--Standard Repertory--
By Georges Bizet
Bizet's perennial favorite was originally written as an
opéra comique alternating
song and dialogue. Only after its 1875 premiere did Guiraud set the
dialogue to
sung recitative. The Guiraud revision became the traditionally
performed
version until very recently. Today, the original is occasionally
performed, and
there have even been a few effective recordings of Bizet's original
with the
dialogue. These recordings are sometimes not so satisfying as some of
the
classic sets featuring the very greatest artists, despite the
keener
effectiveness and elan of the restored original version.

VIDEO: A) Opulently sung video featuring
Grace Bumbry and Jon Vickers, with Mirella Freni and Justino Diaz as
Micaela and the toreador Escamillo; Herbert von Karajan conducts,
based on Salzburg Festival production (1967) [G.R.]
B) Francesco Rosi dir.; Julia Migenes-Johnson, Placido
Domingo, Ruggero Raimondi, Maazel conducting; 1984; Columbia Tri-Star
60487 A more thoroughly cinematic treatment of a respectably, but not
opulently, sung production; stars Julia Migenes-Johnson and Placido
Domingo. [G.R.]
AUDIO: A) EMI (the top pick of three
EMI winners in this opera): Victoria De Los Angeles, Nicolai
Gedda, Beecham conducting; traditional non-authorial version with the
added Guiraud recits -- but Beecham's crisp, stylish leadership in
French repertoire trumps the competition here as ever and inspires a
worthy lineup of principals; Stereo. [G.R.]
B) EMI: Solange Michel, Raoul Jobin, Cluytens conducting
(1950); best attempt at Bizet's original; no Guiraud at all, and with
most of the dialogue restored; did not use quite so accurate an
edition as the later F-2 below; this is, at the same time, a
far more assured and consistent performance, making a much more
idiomatic case than F-2 for the composer's original structure
of alternating song with dialogue, almost matching the authenticity
of D below, but in far superior sound; however, with all its
spontaneity and natural aplomb, this, like D, cannot boast the
same degree of vocal riches as in F-2; Mono [G.R.]
C) EMI: Maria Callas, Nicolai Gedda, Pretre conducting;
with splendid assurance, biting command of the French, and surprising
vocal ease (1964!), Callas gives the most riveting and satisfying
interpretation of the title role on disc; Gedda is not in such good
voice as with Beecham, and there are not quite the same compensations
here for the cumbersome Guiraud recits that there are under Beecham
in A, although every one of Callas's (French) colleagues
offers an authentically idiomatic reading; Stereo [G.R.]
D) MARSTON: Marguerite Mérentié, Agustarello
Affre, Ruhlmann conducting (early acoustic recording, 1911); not only
is this the first recording in the original French, it is the only
one before Cluytens (B) to use the original dialogue in place
of the traditional Guiraud recits; stylistically and historically, it
is an indispensable set, as close to the horse's mouth as Bizet
himself might have hoped; its acoustic sound (an early recording
process using a special horn rather than the familiar electronic
microphone) is strictly primitive; but, as usual, this excellent
transfer by soundmeister Ward Marston has rendered this ancient
artifact fairly listenable; one can both learn from this set and
enjoy it; fair Mono [G.R.]
E) RCA: Rise Stevens, Jan Peerce, Reiner conducting;
nowhere near as idiomatic a performance as the top four, this is
still one of the most star-studded sets available (Robert Merrill and
Licia Albanese in the supporting roles); even though Reiner doesn't
give us the Gallic touch and doesn't appear to encourage it in
others, this is still a performance with rare conviction throughout
from well-established principals who could easily have coasted
through their parts but, to their credit, opted for much more; Mono
[G.R.]
F-1) METROPOLITAN OPERA GUILD [for a King's
ransom]: Rosa Ponselle, René Maison, Papi conducting
("live," Met, 1937); the most overwhelming interpretation of the
title role anywhere: Carmen as more a force of nature (of doom?) than
an irresistible temptress; sung this way, poor José's
fascination comes off almost as a death wish; far from the ideal way
of reading this opera, but unforgettable and persuasive all the same
-- Ponselle's looming vocal opulence swaallows everything in its path;
fair Mono [G.R.]
F-2) EMI: Grace Bumbry, Jon Vickers, de Burgos conducting;
most faithful to Bizet's original of all available recordings;
Vickers' Don Jose unsurpassed, but while overall cast boasts superb
voices, it is not so smart and sure as the lineup in either B
or D; Stereo [G.R.]
G) DECCA/LONDON: Regina Resnik, Mario del Monaco, Schippers
conducting; Resnik's is one of the most magnetic recorded
interpretations on disc, but her admittedly distinguished colleagues
are utterly out of their depth here; Stereo [G.R.]
For Further Reading
(JUST FOR FUN):
A
Smokeless Carmen
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