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- Alphonse Daudet
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- Apollo
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Anagni
Anagni is an ancient town and comune in Latium, central Italy, in the hills east-southeast of Rome. It is famous for its connections with the papacy and for the picturesque monuments of its historical center. It is a historical center in Ciociaria.
http://wn.com/Anagni -
Anzio
Anzio is a city and comune on the coast of the Lazio region of Italy, about south of Rome.
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Frosinone
Frosinone is a town and comune in Lazio, central Italy, the capital of the Province of Frosinone. It is located about 75 km south-east of Rome close to the Rome-Naples Autostrada A1. East of Frosinone lies an early gothic Cistercian cloister.
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Monte Carlo
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Naples
Naples ( , , Neapolitan: Napule) is a city in Italy; it is the capital of the region of Campania and of the province of Naples. Known for its rich history, art, culture, architecture, music, and gastronomy, Naples has played an important role in the the Italian peninsula and beyond for much of its existence, which began more than 2,800 years ago. Situated on the west coast of Italy by the Gulf of Naples, the city is located halfway between two volcanic areas, Mount Vesuvius and the Phlegraean Fields.
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Opéra-Comique
http://wn.com/Opéra-Comique -
Paris Commune
The Paris Commune (, ) was a government that briefly ruled Paris from March 18 (more formally, from March 28) to May 28, 1871. It existed before the split between anarchists and Marxists had taken place, and it is hailed by both groups as the first assumption of power by the working class in industrial Western Civilization. Debates over the policies and outcome of the Commune contributed to the break between those two political groups.
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Théâtre Lyrique
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Venice
Venice ( , Venetian: Venesia) is a city in northern Italy known both for tourism and for industry, and is the capital of the region Veneto, with a population of about 272,000 (census estimate 1 January 2004). Together with Padua, the city is included in the Padua-Venice Metropolitan Area (population 1,600,000).
http://wn.com/Venice
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Adolphe de Leuven
http://wn.com/Adolphe_de_Leuven -
Alphonse Daudet
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Camille Saint-Saëns
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Carl Maria von Weber
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Charles Gounod
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Charles Lecocq
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Daniel Auber
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Donald Jay Grout
Donald Jay Grout (Sept. 28, 1902 - Mar. 9, 1987) was an American musicologist.
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Edward Greenfield
Edward Greenfield (born Westcliff-on-Sea, England, 1928) is an English music critic and broadcaster. He joined the Manchester Guardian in 1953, working as a lobby correspondent in the House of Commons. He has been a record critic for the newspaper since 1955, a music critic since 1964, and was chief music critic from 1977 until his retirement in 1993. He has contributed to Gramophone magazine since 1960, and has been joint editor of The Stereo Record Guide since 1960. A regular broadcaster on the BBC, for many years he presented classical music programmes on the World Service, including The Greenfield Collection.
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Edward J. Dent
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El Cid
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Emmanuel Chabrier
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Enrico Caruso
Enrico Caruso (February 25, 1873 – August 2, 1921) was an Italian tenor. He sang to great acclaim at the major opera houses of Europe and North and South America. Caruso also made approximately 290 commercial recordings of his voice, beginning as early as 1902 in Italy and continuing from 1904 until 1920 in the United States. All of his known surviving recordings are available today on remastered CDs.
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Ernest Guiraud
Ernest Guiraud (26 June 1837 – 6 May 1892) was a French composer and music teacher born in New Orleans, Louisiana. He is best known for writing the traditional orchestral recitatives used for Bizet's opera Carmen and for Offenbach's opera ''Les contes d'Hoffmann (The Tales of Hoffmann'').
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Ernest Reyer
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Eugène Cormon
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Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy, born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 18094 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
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Franz Liszt
Franz Liszt (, from 1859 to 1867 officially Franz Ritter von Liszt) (October 22, 1811July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher.
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François Delsarte
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Friedrich Nietzsche
Friedrich Wilhelm Nietzsche (; in English , ) (October 15, 1844 August 25, 1900) was a 19th-century German philosopher and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism.
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Fromental Halévy
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Gaetano Donizetti
Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti's most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from ''L'elisir d'amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto'' opera.
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Geneviève Halévy
http://wn.com/Geneviève_Halévy -
Georges Bizet
Georges Bizet (25 October 1838 – 3 June 1875) was a French composer and pianist of the Romantic era. He is best known for the opera Carmen.
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Geraldine Farrar
Geraldine Farrar (February 28, 1882 – March 11, 1967) was an American soprano opera singer and film actress, noted for her beauty, acting ability, and "the intimate timbre of her voice." She had a large following among young women, who were nicknamed "Gerry-flappers".
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Giacomo Puccini
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Gioachino Rossini
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Harold Schonberg
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Hector Berlioz
Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs.
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Horace
http://wn.com/Horace -
Ivan the Terrible
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Jacques Offenbach
Jacques Offenbach (born Jacob Offenbach; 20 June 1819 – 5 October 1880) was a German-born French composer and cellist of the Romantic era and one of the originators of the operetta form. Of German-Jewish ancestry, he was one of the most influential composers of popular music in Europe in the 19th century, and many of his works remain in the repertory.
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Jean-Baptiste Faure
Jean-Baptiste Faure (15 January 18309 November 1914) was a celebrated French operatic baritone and an art collector of great significance. He also composed a number of classical songs.
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Jean-Victor Schnetz
Jean-Victor Schnetz (April 14, 1787, Versailles - March 15, 1870, Paris) was a French academic painter well-regarded for his historical and genre paintings.
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Johannes Brahms
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Joseph Meifred
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Jules Massenet
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Jules Pasdeloup
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Jules-Élie Delaunay
http://wn.com/Jules-Élie_Delaunay -
Louis Gallet
http://wn.com/Louis_Gallet -
Louis Philippe I
http://wn.com/Louis_Philippe_I -
Léon Carvalho
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Marcel Proust
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Maurice Ravel
Joseph-Maurice Ravel (March 7, 1875December 28, 1937) was a French composer of Impressionist music known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
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Napoleon III
http://wn.com/Napoleon_III -
Richard Wagner
Wilhelm Richard Wagner (, ; 22 May 1813 13 February 1883) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Famous extracts from his operas include the "Ride of the Valkyries" and the Bridal Chorus from Lohengrin, popularly known as the wedding march "Here Comes the Bride".
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Samuel Richardson
Samuel Richardson (19 August 1689 – 4 July 1761) was an 18th-century English writer and printer. He is best known for his three epistolary novels: Pamela: Or, Virtue Rewarded (1740), Clarissa: Or the History of a Young Lady (1748) and The History of Sir Charles Grandison (1753). Richardson was an established printer and publisher for most of his life and printed almost 500 different works, with journals and magazines.
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Sebastián Iradier
http://wn.com/Sebastián_Iradier -
Sir Thomas Beecham
http://wn.com/Sir_Thomas_Beecham -
Théodore de Banville
http://wn.com/Théodore_de_Banville -
Tony Aubin
http://wn.com/Tony_Aubin -
Victorien Sardou
http://wn.com/Victorien_Sardou -
Walter Scott
http://wn.com/Walter_Scott -
Winton Dean
http://wn.com/Winton_Dean -
Édouard Blau
http://wn.com/Édouard_Blau -
Émile Perrin
http://wn.com/Émile_Perrin
Bizet, Georges Filmography
- Marxism Now (2007)
- Si fuera yo un helecho... (2006)
- Gold and Silver Gala with Placido Domingo (1998)
- Carmen (1997)
- Gala aus Berlin (1997)
- Roland Petit à Marseille (1997)
- De eso no se habla (1993)
- Neco z Carmen (1991)
- Jessye Norman Sings Carmen (1989)
- Vory v zakone (1988)
- Carmen (1987)
- Armed and Dangerous (1986)
- Carmen nue (1984)
- La tragédie de Carmen (1983)
- Carmen, la que contaba 16 años (1978)
- Carmen Syuta (1970)
- L'Arlésienne (1967)
- Carmen di Trastevere (1963)
- Maria Callas in Concert - Hamburg 1958 and 1962 (1962)
- The Drama of Carmen (1962)
- Valcík pro milión (1961)
- Ye mei gui zhi lian (1960)
- Taková láska (1959)
- Muj prítel Fabián (1955)
- Karumen junjo su (1952)
- Carmen (1952)
- Manon des sources (1952)
- Dravci (1948)
- Carmen (1945)
- Carmen (1943)
- L'arlésienne (1942)
- Melody of My Heart (1936)
- Heart's Desire (1935)
- Skrivanci pisen (1933)
- Carmen (1933)
- Zigeunerblut (1920)
- Carmen (1914)
- Carmen (1913)
Georges Bizet was a child produgy. Entering the Paris Conservatory at the age of nine, he counted among his teachers Antoine Marmontel, François Benoist and Jacques Halévy. At nineteen Bizet won a Prix de Rome. That same year he wrote his first opera, 'Le Docteur Miracle', a one-act comedy. After his studies in Italy he returned to Paris with the intention of writing music for the stage. His 'Les Pêcheurs de perles' (1863), 'La jolie fille de Perth' (1867) and 'Djamileh' however met no more than moderate success. Bizet remained in relative obscurity until 1872 when his incidental music for Daudet's "L'Arlésienne" won him a degree of fame. It was at the suggestion of Camille du Locle, director of the Opéra-Comique, that Bizet composed his opera 'Carmen'. Bizet's libretists, Henri ;eilhac and Ludovic Halévy, had based their adaptation on a short novel by Prosper Mérimée. After initial bad reviews, today 'Carmen' is probably the most known opera in the world. The composer's strong dramatic sense, sensuous melodies, vivid orchestration and pulsating rhythms combine into what more than one critic has termed "the perfect opera."
Bizetic, Boris Filmography
- Gnjurac (1993)
- Gnjurac (1993)
- Zikina zenidba (1992)
- Dama koja ubija (1992)
- Sekula nevino optuzen (1992)
- Svemirci su krivi za sve (1991)
- Tesna koza 4 (1991)
- Tesna koza 2 (1987)
- Balada o jednoj zastavi (1976)
- Crveni udar (1974)
- Bombasi (1973)
- Predgradje (1972)
- Odlazak kauboja (1971)
Bizet, Marie Filmography
- Les soeurs du Nord (1989)
- La grande cabriole (1989)
- Chouette, chat, chien... show (1980)
- Paris Music Hall (1957)
- I due derelitti (1951)
- Fausse identité (1947)
- Les trois cousines (1947)
- Faut ce qu'il faut (1946)
- Chantons quand même (1939)
- Lumières de Paris (1938)
- La chanson du souvenir (1936)
RELEASE
ALBUMS
Les pêcheurs de perles (Chœurs et Orchestre du Capitole de Toulouse feat. conductor: Michel Plasson)
Carmen (Orchestre Philharmonique de Radio France feat. tenor: Andrea Bocelli, conductor: Myung-Whun Chung)
(Released 2010)
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- Carmen: Prélude
- Carmen: Act I. “Sur la place chacun passe” (Soldats, Moralès)
- Carmen: Act I. “Regardez donc cette petite qui semble vouloir nous parler” (Moralès, Micaëla, Soldats)
- Carmen: Act I. “Avec la garde montante nous arrivons, nous voilà” (Chœur de gamins)
- Carmen: Act I. “La cloche a sonné… Dans l’air, nous suivons des yeux la fumée” (Jeunes gens, Soldats, Cigarières)
- Carmen: Act I. “Mais nous ne voyons pas la Carmencita!” (Soldats, Jeunes gens, Cigarières)
- Carmen: Act I. “Quand je vous aimerai?… L’amour est un oiseau rebelle” (Havanaise) (Carmen, Chœur)
- Carmen: Act I. “Carmen! Sur tes pas nous nous pressons tous!” (Jeunes gens, Carmen, Don José, Cigarières)
- Carmen: Act I. “Monsieur le brigadier?” (Micaëla)
- Carmen: Act I. “Parle-moi de ma mère!… Ma mère, je la vois, oui, je revois mon village!” (Don José, Micaëla)
- Carmen: Act I. “Que son fils l’aime et la vénère et qu’il se répent aujourd’hui” (Don José, Micaëla)
- Carmen: Act I. “Que se passe-t-il… Au secours!” (Zuniga, Cigarières)
- Carmen: Act I. “Voyons, brigadier… Avez-vous quelque chose à répondre? — Tra la la la” (Zuniga, Don José, Carmen, Cigarières)
- Carmen: Act I. “Laisse-moi m’échapper” (Carmen, Don José)
- Carmen: Act I. “Près des remparts de Séville (Séguedille)… Tais-toi” (Carmen, Don José)
- Carmen: Act I. “Voici l’ordre; partez et faites bonne garde” (Zuniga, Carmen)
- Carmen: Entracte
- Carmen: Act II. “Les tringles des sistres tintaient” (Carmen, Frasquita, Mercédès)
- Carmen: Act II. “Messieurs, le patron me dit qu’il doit fermer l’auberge” (Frasquita, Moralès, Mercédès, Zuniga, Carmen, Amis d’Escamillo)
- Carmen: Act II. “Vivat! vivat le torero!” (Amis d’Escamillo, Zuniga, Officiers, Carmen, Frasquita, Mercédès)
- Carmen: Act II. “Votre toast, je peux vous le rendre, señors” (Escamillo, Carmen, Frasquita, Mercédès, Zuniga, Officiers, Amis d’Escamillo)
- Carmen: Act II. “La belle, dis-moi ton nom — Carmen, la Carmencita” (Escamillo, Carmen, Zuniga)
- Carmen: Act II. “Eh bien, les nouvelles?… Nous avons en tête une affaire!” (Frasquita, Le Dancaïre, Carmen, Mercédès, Le Remendado)
Carmen Suite No. 1 & 2 (London Festival Orchestra feat. conductor: Cesare Cantieri)
(Released 2010)
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- Carmen Suite No. 1: I. Prelude
- Carmen Suite No. 1: II. Aragonaise
- Carmen Suite No. 1: III. Intermezzo
- Carmen Suite No. 1: IV. Seguidilla
- Carmen Suite No. 1: V. Les dragons de Alcala
- Carmen Suite No. 1: VI. Les Toreadors
- Carmen Suite No. 2: I. Marche des contrabandiers
- Carmen Suite No. 2: II. Habanera
- Carmen Suite No. 2: III. Nocturne
- Carmen Suite No. 2: IV. Chanson du Toréador
- Carmen Suite No. 2: V. La garde montante
- Carmen Suite No. 2: VI. Danse bohème
Grandes compositores da música clássica, Volume 11: Bizet
(Released 2009)
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- Carmen: Prélude
- Carmen: La cloche a sonnée
- Carmen: L'amour est un oiseau rebelle (Habanera)
- Carmen: Près des remparts de Séville (Seguidilla e dueto)
- Carmen: Votre toast, je peux vous le rendre
- Carmen: La fleur que tu m'avais jetée
- Carmen: Entr'acte
- Carmen: Écoute, écoute, compagnon
- Carmen: Je dis que rien ne m'épouvante
- Carmen: Les voici! Les voici!
- Suíte l'Arlésienne: I. Prélude (Allegro deciso. Tempo di marcia)
- Suíte l'Arlésienne: II. Menuet (Allegro giocoso)
- Suíte l'Arlésienne: III. Adagietto
- Suíte l'Arlésienne: IV. Carillon (Allegretto moderato)
Carmen (Vienna Philharmonic Orchestra feat. conductor: Herbert von Karajan, choir: Vienna State Opera Chorus & Vienna Boys Choir)
(Released 2009)
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- Carmen: Overture
- Carmen: Acte I. "Sur la place, chacun passe"
- Carmen: Acte I. "Regardez donc cette petite"
- Carmen: Acte I. "Avec la garde montante"
- Carmen: Acte I. "C'est bien là"
- Carmen: Acte I. Chorus of Cigarette Girls "La cloche à sonné"
- Carmen: Acte I. "La voilà, la voilà"
- Carmen: Acte I. Habanera. "L'amour est un oiseau rebelle"
- Carmen: Acte I. "Carmen! sur tes pas"
- Carmen: Acte I. "Quels regards! Quelle effronterie!"
- Carmen: Acte I. "Parle-moi de ma mère!"
- Carmen: Acte I. "Reste là maintenant, pendant que je lirai"
- Carmen: Acte I. "Que se passe-t-il donc là-bas?"
- Carmen: Acte I. "Mon officier, c'était une querelle"
- Carmen: Acte I. "Tralalalala, coupe-moi, brûle-moi"
- Carmen: Acte I. Seguidilla. "Près des remparts de Séville"
- Carmen: Acte I. "Voici l'ordre: partez"
- Carmen : Prélude
- Carmen : Entracte 1
- Carmen : Entracte 2
- Carmen : Entracte 3
- L'Arlesienne, Suite d'orchestre no.1 : I. Ouverture. Allegro deciso
- L'Arlesienne, Suite d'orchestre no.1 : II. Minuetto. Allegro giocoso
- L'Arlesienne, Suite d'orchestre no.1 : III. Adagietto
- L'Arlesienne, Suite d'orchestre no.1 : IV. Carillon. Allegro moderato
- L'Arlesienne, Musique de scène : Pastorale, entracte et chœur I acte II, tableau 2
- L'Arlesienne, Musique de scène : Mélodrame I acte II, tableau 2
- L'Arlesienne, Musique de scène : Chœur I acte II, tableau 2
- L'Arlesienne, Musique de scène : Mélodrame I acte II, tableau 2
- L'Arlesienne, Musique de scène : Mélodrame I acte III, tableau 4
- L'Arlesienne, Musique de scène : Farandole I acte III, tableau 4
- L'Arlesienne, Musique de scène : Entracte I acte III, tableau 5
- L'Arlesienne, Musique de scène : Chœur I acte III, tableau 5
- L'Arlesienne, Suite d'orchestre no.2 : I. Pastorale
- L'Arlesienne, Suite d'orchestre no.2 : II. Intermezzo
- L'Arlesienne, Suite d'orchestre no.2 : III. Menuet
- L'Arlesienne, Suite d'orchestre no.2 : IV. Farandole
Symphony in C / L'Arlésienne Suites Nos. 1 & 2 (Academy of St. Martin in the Fields feat. conductor: Sir Neville Marriner)
(Released 2008)
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- Symphony in C: I. Allegro Vivo
- Symphony in C: II. Adagio
- Symphony in C: III. Scherzo. Allegro Vivace
- Symphony in C: IV. Finale. Allegro Vivace
- L'Arlésienne Suite No. 1: I. Prélude
- L'Arlésienne Suite No. 1: II. Minuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: III. Menuet
- L'Arlésienne Suite No. 2: IV. Farandole
Opera Classics (box 4: Carmen - Bizet) (feat. Conductor Michel Plasson)
(Released 2007)
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- Carmen: Prelude
- Carmen: Acte I. "Mais nous ne voyons pas la Carmencita !... Quand je vous aimerai ?" (Carmen, Chœur)
- Carmen: Acte I. "L'amour est un oiseau rebelle" (Carmen, Chœur)
- Carmen: Acte I. "L'amour est enfant de bohème" (Carmen, Chœur)
- Carmen: Acte I. "Carmen ! Sur tes pas, nous nous presson tous !" (Chœur)
- Carmen: Acte I. "Que se passe -t-il donc là-bas ?... Au secours ! Au secours !" (Zuniga, Chœur)
- Carmen: Acte I. "Mon officier, c'était une querelle... Tralalala, coupe-moi" (José, Zuniga, Carmen, Chœur)
- Carmen: Acte I. "Où me conduisez-vous ?" (Carmen, José)
- Carmen: Acte I. "Près des remparts de Séville" (Carmen, José)
- Carmen: Acte I. "Voici l'ordre ; partez" (Zuniga, Carmen)
- Carmen: Acte I. Entracte
- Carmen: Acte II. "Les tringles des sistres tintaient (Carmen, Frasquita, Mercédès)
- Carmen: Acte II. "Votre toast, je peux vous le rendre... Toréador, en garde !" (Escamillo, Carmen, Frasquita, Mercédès, Moralès, Zuniga, Chœur)
- Carmen: Acte II. "Au quartier ! Pour l'appèl !" (Carmen, José)
- Carmen: Acte II. "La fleur que tu m'avais jetée" (José)
- Carmen: Acte II. "Non, tu ne m'aimes pas" (Carmen, José)
- Carmen: Acte II. Entracte
- Carmen: Acte III. "Voyons que j'essaye à mon tour" (Carmen)
- Carmen: Acte III. "En vain pour éviter" (Carmen)
- Carmen: Acte III. "...la mort... Parlez encore, parlez mes belles" (Carmen, Frasquita, Mercédès)
- Carmen: Acte III. "Je dis, que rien ne m' épouvante" (Micaëla)
- Carmen: Acte III. Entracte
- Carmen: Acte IV. "Les voici ! Voici la quadrille !" (Chœur d'enfants, Chœur)
- Carmen: Acte IV. "Si tu m'aimes, Carmen" (Escamillo, Carmen, Chœur)
- Carmen: Acte IV. "Carmen, un bon conseil" (Frasquita, Carmen, Mercédès)
- Carmen: Acte IV. "C'est toi !... C'est moi !" (Carmen, José)
- Carmen: Acte IV. "Tu ne m'aimes donc plus ?" (José, Carmen, Chœur)
L'Arlésienne-suiten / Jeux D'Enfants / Zigeunerszenen - Gypsy scenes (Rundfunk-Sinfonie-Orchester Berlin feat. conductor: Heinz Rögner)
(Released 2006)
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- L'Arlésienne, Suite No. 1: I. Prélude, allegro deciso
- L'Arlésienne, Suite No. 1: II. Minuet, allegro giocoso
- L'Arlésienne, Suite No. 1: III. Adagietto
- L'Arlésienne, Suite No. 1: IV. Carillon, allegro moderato
- L'Arlésienne, Suite No. 2: I. Pastorale
- L'Arlésienne, Suite No. 2: II. Intermezzo
- L'Arlésienne, Suite No. 2: III. Minuet
- L'Arlésienne, Suite No. 2: IV. Farandole
- La jolie fille de Perth: I. Prelude
- La jolie fille de Perth: II. Serenade
- La jolie fille de Perth: III. Marche
- La jolie fille de Perth: IV. Danse Bohémienne
- Jeux d'enfants, Op. 22: VI. Trompette et tambour
- Jeux d'enfants, Op. 22: III. La poupée
- Jeux d'enfants, Op. 22: II. La toupie
- Jeux d'enfants, Op. 22: XI. Petit mari, petite femme
- Jeux d'enfants, Op. 22: XII. Le bal
Les Pêcheurs de Perles (Paris Opéra Chorus & Orchestra, Cond. Georges Prêtre)
(Released 2006)
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- Les Pêcheurs de Perles: Prelude
- Les Pêcheurs de Perles, Act I: Sur la grève en feu
- Les Pêcheurs de Perles, Act I: Amis, interrompez vos danses
- Les Pêcheurs de Perles, Act I: Mais qui vient là?
- Les Pêcheurs de Perles, Act I: Demeure parmi nous, Nadir
- Les Pêcheurs de Perles, Act I: C'est toi, toi qu'enfin je revois
- Les Pêcheurs de Perles, Act I: Au fond du temple saint
- Les Pêcheurs de Perles, Act I: Amitié sainte
- Les Pêcheurs de Perles, Act I: Que vois-je?
- Les Pêcheurs de Perles, Act I: Sois la bienvenue
- Les Pêcheurs de Perles, Act I: Seule au milieu de nous
- Les Pêcheurs de Perles, Act I: Qu'as-tu donc?
- Les Pêcheurs de Perles, Act I: A cette voix
- Les Pêcheurs de Perles, Act I: Je crois entendre encore
- Les Pêcheurs de Perles, Act I: Le ciel est bleu!
- Les Pêcheurs de Perles, Act I: O Dieu Brahma
- Les Pêcheurs de Perles, Act II: La, la, la... L'ombre descend des cieux
- Les Pêcheurs de Perles, Act II: Les barques ont gagné la grève
- Les Pêcheurs de Perles, Act II: J'étais encore enfant
L'Arlésienne: Incidental Music (Orchestre du Capitole de Toulouse feat. conductor: Michel Plasson)
(Released 2006)
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- L'Arlésienne, Op. 23: Acte I. Prélude
- L'Arlésienne, Op. 23: Acte I. Trois mélodrames
- L'Arlésienne, Op. 23: Acte I. Chœur et mélodrames / Mélodrame et chœur final
- L'Arlésienne, Op. 23: Acte II. Pastorale (Entr'acte et chœur)
- L'Arlésienne, Op. 23: Acte II. Trois mélodrames
- L'Arlésienne, Op. 23: Acte II. Chœur / Deux mélodrames / Final (chœur)
- L'Arlésienne, Op. 23: Acte III. Mélodrame / Final
- L'Arlésienne, Op. 23: Acte IV. Entracte (tempo di minuetto vivo) / Carillon
- L'Arlésienne, Op. 23: Acte IV. Mélodrame
- L'Arlésienne, Op. 23: Acte IV. Mélodrame / Final (chœur)
- L'Arlésienne, Op. 23: Acte V. Entracte et chœurs / Deux mélodrames / Final
- Suite d'orchestre No. 1 "L'Arlésienne": I. Prélude (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 1 "L'Arlésienne": II. Menuet (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 1 "L'Arlésienne": III. Adagietto (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 1 "L'Arlésienne": IV. Carillon (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 2 "L'Arlésienne": I. Pastorale (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 2 "L'Arlésienne": II. Intermezzo (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 2 "L'Arlésienne": III. Menuet (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Suite d'orchestre No. 2 "L'Arlésienne": IV. Farandole (London Symphony Orchestra feat. conductor: Claudio Abbado)
- Petite suite d'orchestre "Jeux d'enfants": I. Marche : trompette et tambour (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Petite suite d'orchestre "Jeux d'enfants": II. Berceuse : la poupée (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Petite suite d'orchestre "Jeux d'enfants": III. Impromptu : la toupie (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Petite suite d'orchestre "Jeux d'enfants": IV. Duo : petit mari, petite femme (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Petite suite d'orchestre "Jeux d'enfants": V. Galop : le bal (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Symphonie en Ut majeur: I. Allegro vivo (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Symphonie en Ut majeur: II. Adagio (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Symphonie en Ut majeur: III. Scherzo (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
- Symphonie en Ut majeur: IV. Finale (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
Bizet: Symphony in C Jeux d'Enfants L'Arlésienne Suites 1 & 2
(Released 2005)
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- Symphony in C: i. Allegro vivo
- Symphony in C: ii. Adagio
- Symphony in C: iii. Allegro vivace
- Symphony in C: iv. Allegro vivace
- Jeux d'Enfants: i. Trompet et Tambour - Marche
- Jeux d'Enfants: ii. La Poepée - Berceuse
- Jeux d'Enfants: iii. La Toupie - Impromptu
- Jeux d'Enfants: iv. Petit Mari, Petite Fille - Duo
- Jeux d'Enfants: v. Le Bal - Galop
- L'Arlésienne, Suite No.1: i. Prélude
- L'Arlésienne, Suite No.1: ii. Menuet
- L'Arlésienne, Suite No.1: iii. Adagietto
- L'Arlésienne, Suite No.1: iv. Carillon
- L'Arlésienne, Suite No.2: i. Pastorale
- L'Arlésienne, Suite No.2: ii. Intermezzo
- L'Arlésienne, Suite No.2: iii. Menuet
- L'Arlésienne, Suite No.2: iv. Farandole
Carmen (The Ambrosian Singers, George Watson College Boys' Chorus, London Symphony Orchestra feat. conductor: Claudio Abbado)
(Released 2005)
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- Carmen: Prélude
- Carmen: Acte I. No. 1 Introduction "Sur la place chacun passe" (les Soldats, Moralès)
- Carmen: Acte I. "Regardez donc cette petite" (Moralès, les Soldats, Micaëla)
- Carmen: Acte I. No. 2 Marche et Chœur des gamins "Avec la garde montante" (les gamins)
- Carmen: Acte I. "Repos!" (Zuniga, Moralès, Don José)
- Carmen: Acte I. "Allons! allons!" (Zuniga, les gamins)
- Carmen: Acte I. "Dites-moi, brigadier?" (Zuniga, Don José)
- Carmen: Acte I. No. 3 Chœur et Scène "La cloche a sonné" (les Jeunes Gens, les Soldats, les Cigarières)
- Carmen: Acte I. "Mais nous ne voyons pas la Carmencita" (les Soldats, les Jeunes Gens)
- Carmen: Acte I. "Quand je vous aimerai?" (Carmen) – No. 4 Havanaise "L'amour est un oiseau rebelle" (Carmen, chœur)
- Carmen: Acte I. No. 5 Scène "Carmen, sur tes pas nous nous pressons tous" (les Jeunes Gens, le Cigarières, Don José)
- Carmen: Acte I. "Monsieur le brigadier?" (Micaëla, Don José) – No. 6 Duo "Parle-moi de ma mère" (Don José, Micaëla)
- Carmen: Acte I. "Votre mère avec moi sortait de la chapelle" (Micaëla, Don José)
- Carmen: Acte I. "Ma mère, je la vois..." (Don José, Micaëla)
- Carmen: Acte I. "Que son fils l'aime et la vénère" (Don José, Micaëla) – "Eh bien, eh bien!" (Zuniga)
- Carmen: Acte I. No. 7 Chœur "Au secours!" (les Cigarières, Zuniga, les Soldats)
- Carmen: Acte I. "Voyons, brigadier..." (Zuniga, Don José) – No. 8 Chanson et Mélodrame "Tra la la la..." (Carmen, Zuniga, les Cigarières, un Soldat, Don José)
- Carmen: Acte I. No. 9 Chanson (Séguedille) et Duo "Près des remparts de Séville" (Carmen, Don José)
- Carmen: Acte I. No. 10 Finale "Le lieutenant!... Prenez garde!" (Don José, Zuniga, Carmen)
- Carmen: Entr'acte
- Carmen: Acte II. No. 11 Chanson "Les tringles des sistres tintaient" (Carmen, Mercédès, Frasquita)
- Carmen: Acte II. "Vous avez quelque chose à nous dire" (Zuniga, Pastia, Frasquita, Mercédès, Andrès, Carmen)
- Carmen: Acte II. "Tout est bien alors" (Carmen, Zuniga) – No. 12 Chœur et Ensemble "Vivat! vivat le toréro!" (chœur, Zuniga, Mercédes, Andrès, Frasquita, Pastia)
- Carmen: Acte II. No. 13 Couplet (Air du Toréador) "Votre toast... je peux vous le rendre" (Escamillo, chœur, Frasquita, Mercédès, Carmen, Pastia, Zuniga) – No. 13 bis Chœur "Toréador, en garde" (chœur, Frasquita, Pastia, Dancaïre, Remendado)
- Carmen: Acte II. No. 14 Quintette "Nous avons en tête une affaire" (Dancaïre, Frasquita, Mercédès, Remendado, Carmen)
- Carmen: Acte II. "Amoureuse... ce n'est pas une raison, cela" (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) – No. 15 Chanson "Halte-là! Qui va là?" (Don José, Mercédès, Frasquita, Dancaïre, Carmen)
Carmen (Philharmonia Orchestra feat. Patricia Bardon, conductor: David Parry)
(Released 2003)
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- Carmen: Prelude
- Carmen: Act I. “In the plaza” (Soldiers, Moralès)
- Carmen: Act I. “Just look at that delicious morsel” (Moralès, Soldiers, Micaëla)
- Carmen: Act I. “Here come our new soldier boys” (Children)
- Carmen: Act I. “José! There was a girl looking for you just now” (Moralès, Don José)
- Carmen: Act I. “Off with you old soldier boys” (Children)
- Carmen: Act I. “Corporal! — Sir!” (Zuniga, Don José)
- Carmen: Act I. “We have heard the bell summon us to meet here” (Young Men)
- Carmen: Act I. “Ah, just look!” (Soldiers, Cigarette Girls, Young Men)
- Carmen: Act I. “But why hasn’t she come, our Carmencita?” (Soldiers, Young Men, Cigarette Girls, Carmen)
- Carmen: Act I. “Love’s a bird wild as any rebel” (Carmen, Cigarette Girls, Young Men, Soldiers)
- Carmen: Act I. “Carmen! We will follow you high and low!” (Young Men, Carmen, Don José, Cigarette Girls)
- Carmen: Act I. “The cheek of it!” (Don José, Micaëla)
- Carmen: Act I. “Give me news of my mother!” (Don José, Micaëla)
- Carmen: Act I. “Your dear mother and I were leaving church this morning” (Micaëla, Don José)
- Carmen: Act I. “I see my mother’s face!” (Don José, Micaëla)
- Carmen: Act I. “Wait a moment—I’m going to read the letter” (Don José, Micaëla)
- Carmen: Act I. “Come and help!” (Cigarette Girls, Zuniga, Soldiers)
- Carmen: Act I. “So corporal: tell me what happened” (Zuniga, Don José)
- Carmen: Act I. “Well, Carmencita: what do you have to say for yourself?” (Zuniga, Carmen)
- Carmen: Act I. “Where are you taking me?” (Carmen, Don José)
- Carmen: Act I. “There’s an old bar in the city” (Carmen, Don José)
- Carmen: Act I. “Careful—it’s the lieutenant” (Don José, Zuniga, Carmen)
- Carmen: Entr’acte
- Carmen: Act II. “From far away mysterious sounds” (Carmen, Frasquita, Mercédès)
- Carmen: Act II. “Bravo! bravo! More! Keep dancing!” (Zuniga, Frasquita, Mercédès, Carmen)
- Carmen: Act II. “Hurrah! Hurrah! The Torero!” (Friends of Escamillo)
- Carmen: Act II. “Who’s that? — It’s Escamillo, the bullfighter from Granada” (Zuniga, Frasquita, Friends of Escamillo)
- Carmen: Act II. “Hurrah! Hurrah! The Torero!” (Zuniga, Officers, Friends of Escamillo, Mercédès, Frasquita, Carmen, Moralès, Escamillo)
- Carmen: Act II. “You’re most kind” (Escamillo, Frasquita, Mercédès, Carmen, Moralès, Zuniga, Officers, Friends of Escamillo)
- Carmen: Act II. “We’ll come with you, Señor Torero” (Zuniga, Escamillo, Friends of Escamillo, Carmen, Frasquita, Mercédès)
- Carmen: Act II. “Toreador, be ready!” (Friends of Escamillo)
- Carmen: Act II. “At last! – We got rid of them as quickly as we could” (Remendado, Frasquita, Dancaïre, Mercédès)
- Carmen: Act II. “There’s a little job that we're starting!” (Dancaïre, Mercédès, Frasquita, Remendado, Carmen)
- Carmen: Act II. “Being in love is not a reason” (Dancaïre, Carmen, Frasquita, Mercédès, Don José)
Carmen (Orchestre Du Théâtre National De L'Opéra De Paris feat. conductor: Rafael Frühbeck De Burgos)
(Released 2003)
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- Prelude
- Act 1 - Sur La Place, Chacun Passe
- Act 1 - Avec La Garde Montante
- Act 1 - C'Est Bien Là, n'Est-Ce Pas... La Cloche a Sonné
- Act 1 - Quand Je Vous Aimeria?... L'Amour Est Un Oiseau Rebelle (Hab)
- Act 1 - Carmen! Sur Tes Pas
- Act 1 - Monsieur Le Brigadier?... Ma Mere, Je La Vois
- Act 1 - Attends Un Peu Meintenant... Au Secours!
- Act 1 - Eh Bien!... Vous Avez Entendu?... Tra La La La...
- Act 1 - A La Prison
- Act 1 - C'Est Tres Bien... Près Des Remparts De Séville (Seguedille)
- Act 1 - Voici L'Ordre (Finale)
- Act 1 - Entr'acte
- Act 2 - Les Tringles Des Sistres Tintaient
- Act 2 - Vous Avez Quelque Chose À Nous Dire
- Act 2 - Vivat! Vivat Le Toréro!
- Act 2 - Votre Toast, Je Peux Vous Le Rendre (Chant Du Toreador)
- Act 2 - Messieurs Les Officiers
- Act 2 - Eh Bien! Vite, Quelles Nouvelles?
- Act 2 - Nous Avons En Tête Une Affaire (Quintet)
- Act 2 - En voilà assez...Halte là!...Enfin, te voilà
- Prelude
- Lift 'em Up and Put 'em Down
- Dat's Love
- You Talk Just Like My Maw
- Dere's a Café on de Corner
- Beat Out Dat Rhythm on a Drum
- Stan' Up and Fight
- Whizzin' Away Along de Track
- Dis Flower
- De Cards Don't Lie
- My Joe
- Dat's Our Man
- Finale
- Beat Out Dat Rhythm on a Drum
Carmen (Orchestre National du Capitole de Toulouse feat. conductor: Michel Plasson)
(Released 2003)
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- Carmen: No. I. Prélude (Orchestre)
- Carmen: Acte I, No. II. Scène et Chœur "Sur la place, chacun passe, chacun vient, chacun va" (Moralès, Dragons)
- Carmen: Acte I, No. II. Scène et Chœur "Regardez donc cette petite qui semble vouloir nous parler" (Moralès, Micaëla, Dragons)
- Carmen: Acte I, No. IIa. Scène et Pantomime "Attention! Chut! Attention! Taisons-nous!" (Moralès, Dragons)
- Carmen: Acte I, No. III. Chœur des Gamins "Avec la garde montante, nous arrivons, nous voilà!" (Chœur d'enfants)
- Carmen: Acte I, No. III. Chœur des Gamins, Récitatif "Une jeune fille charmante" (Moralès, Don José) / "Et la garde descendante rentre chez elle et s'en va" (Chœur d'enfants)
- Carmen: Acte I, No. III bis. Récitatif "C'est bien là, n'est-ce pas?" (Zuniga, Don José)
- Carmen: Acte I, No. IV. Chœur des Cigarières "La cloche a sonné; nous, des ouvrières" (Jeunes gens)
- Carmen: Acte I, No. IV. Chœur des Cigarières "Voyez-les! regards impudents....Dans l'air nous suivons des yeux" (Dragons, Cigarières)
- Carmen: Acte I, No. IV. Chœur des Cigarières "Mais nous ne voyons pas la Carmencita!...Quand je vous aimerai?" (Jeunes gens, Dragons, Cigarières, Carmen)
- Carmen: Acte I, No. V. Habanera "L'amour est un oiseau rebelle" (Carmen, Cigarières, Jeunes gens, Dragons)
- Carmen: Acte I, No. Va. Air et Chœur "L'amour est un enfant Bohème" (Original version) (Carmen, Cigarières, Jeunes gens, Dragons)
- Carmen: Acte I, No. VI. Scène "Carmen! sur tes pas nous nous pressons tous!" (Jeunes gens, Cigarières)
- Carmen: Acte I, No. VI bis. Récitatif "Quels regards! quelle effronterie!" (Don José)
- Carmen: Acte I, No. VI bis. Récitatif "José!... Micaëla!..." (Don José, Micaëla) / No. VII. Duo "Parle-moi de ma mère" (Don José, Micaëla)
- Carmen: Acte I, No. VII bis. Récitatif "Reste-là maintenant" (Don José, Micaëla)
- Carmen: Acte I, No. VIII. Chœur "Que se passe-t-il donc là-bas?...Au secours! n'entendez-vous pas?" (Zuniga, Cigarières)
- Carmen: Acte I, No. IX. Chanson et Mélodrame "Mon officier c'était une querelle Tra la, la, la, coupe-moi" (Don José, Zuniga, Carmen, Cigarières)
- Carmen: Acte I, No. IX. Chanson et Mélodrame, Récitatif "Où me conduisez-vous?" (Carmen, Don José)
- Carmen: Acte I, No. X. Séguedille et Duo "Près des ramparts de Séville" (Carmen, Don José)
- Carmen: Acte I, No. XI. Finale "Voici l'order; partez" (Zuniga, Carmen)
Carmen (Orchestre National de France feat. conductor: Seiji Ozawa)
(Released 2003)
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- Prélude
- Acte 1, No. 1 : Introduction : « Sur la place chacun passe »
- Acte 1, No. 1 : Introduction : « Regardez donc cette petite »
- Acte 1, No. 2 : Marche et chœur des gamins : « Avec la garde montante »
- Acte 1, No. 2 : Marche et chœur des gamins : « Il y a une jolie fille qui est venue te demander »
- Acte 1, No. 2 : Marche et chœur des gamins : « Et la garde descendante rentre chez elle »
- Acte 1, No. 2 : Marche et chœur des gamins : « Dites-moi, brigadier ? »
- Acte 1, No. 3 : Chœur et scène : « La cloche a sonné »
- Acte 1, No. 3 : Chœur et scène : « Dans l'air, nous suivons des yeux la fumée »
- Acte 1, No. 3 : Chœur et scène : « Mais nous ne voyons pas la Carmencita ! »
- Acte 1, No. 3 : Chœur et scène : « Quand je vous aimerai ? » / Acte 1, No. 4 : Havanaise : « L'amour est un oiseau rebelle »
- Acte 1, No. 5 : Scène : « Carmen ! Sur tes pas, nous nous pressons tous ! »
- Acte 1, No. 5 : Scène : « Qu'est-ce que ça veut dire »
- Acte 1, No. 6 : Duo : « Parle-moi de ma mère ! »
- Acte 1, No. 6 : Duo : « Ma mère, je la vois »
- Acte 1, No. 6 : Duo : « Attends un peu maintenant... Je vais lire sa lettre »
- Acte 1, No. 7 : Chœur : « Au secours ! »
- Acte 1, No. 7 : Chœur : « Voyons brigadier »
- Acte 1, No. 8 : Chanson et mélodrame : « Avez-vous quelque chose à répondre ? »
- Acte 1, No. 8 : Chanson et mélodrame : « Où me conduirez-vous ? »
- Acte 1, No. 9 : Chanson et duo : « Près des remparts de Séville » / « Tais-toi »
- Acte 1, No. 10 : Final : « Le lieutenant... Prenez garde ! » / « Voici l'ordre »
The Complete Orchestral Works (feat. conductor: Enrique Batiz)
(Released 2002)
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- Carmen Suite No. 1: I. Prélude-Aragonaise
- Carmen Suite No. 1: II. Intermezzo
- Carmen Suite No. 1: III. Séguedille
- Carmen Suite No. 1: IV. Les dragons d'Alcala
- Carmen Suite No. 1: V. Les Toréadors
- Carmen Suite No. 2: I. Marche des Contrebandiers
- Carmen Suite No. 2: II. Habañera
- Carmen Suite No. 2: III. Nocturne
- Carmen Suite No. 2: IV. Chanson di Toréador
- Carmen Suite No. 2: V. La garde Montante
- Carmen Suite No. 2: VI. Danse Bohème
- Carmen Suite No. 2: Prélude (from Les Pêcheurs de perles)
- Patrie, Ouverture, Op. 19
Bizet: Carmen Suites Nos. 1 & 2 / Grieg: Peer Gynt Suite (St. Louis Symphony Orchestra feat. conductor: Leonard Slatkin)
(Released 2002)
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- Carmen Suite No. 1: Prelude to Act I
- Suite No. 1, Aragonaise: Prelude to Act IV
- Suite No. 1, Intermezzo: Prelude to Act III
- Suite No. 1, Seguidilla
- Suite No. 1, Les Dragons d'Alcala
- Suite No. 1, Les Toreadors: Introduction to Act I
- Suite No. 2, La Garde Montante
- Suite No. 2, Danse Boheme
- Peer Gynt Suite No. 2, Op. 55: I. Ingrid's Lament
- Peer Gynt Suite No. 2, Op. 55: II. Arabian Dance
- Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
- Peer Gynt Suite No. 1, Op. 46: II. Ase's Death
- Peer Gynt Suite No. 1, Op. 46: III. Anitra's Dance
- Peer Gynt Suite No. 1, Op. 46: IV. In the Hall of the Mountain King
Symphony in C / L'Arlésienne Suites Nos. 1 & 2 (feat. conductor: Sir Thomas Beecham)
(Released 2000)
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- Symphony in C: I. Allegro Vivo
- Symphony in C: II. Adagio
- Symphony in C: III. Scherzo. Allegro Vivace
- Symphony in C: IV. Finale. Allegro Vivace
- L'Arlésienne Suite No. 1: I. Prélude
- L'Arlésienne Suite No. 1: II. Minuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: III. Menuet
- L'Arlésienne Suite No. 2: IV. Farandole
Carmen Highlights (Paris Opera Chorus, National Theater Opera Orchestra of Paris feat. conductor: Rafael Frühbeck de Burgos)
(Released 2000)
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- Prélude
- Act I: Avec la garde montante (Chœur, Moralès, José, Zuniga)
- Act I: Quand je vous aimerais? L'amour est un oiseau rebelle (Habanera) (Carmen, Chœur)
- Act I: Monsieur le brigadier?... Ma mère, je la vois! (Micaëla, José)
- Act I: C'est très bien... Près des remparts de Séville (Séguedille) (José, Carmen)
- Act I: Entr'acte (Orchestra)
- Act II: Les tringles des sistres tintaient (Carmen)
- Act II: Votre toast, je peux vous le rendre (Chant du Toréador) (Escamillio, Chœur, Frasquita, Mercédès, Carmen)
- Act II: La fleur que tu m'avais jetée (Chant du fleur) (José)
- Act II: Entr'acte (Orchestra)
- Act III: A la bonne heure... Mêlons! Coupons! (Trio des Cartes) (Carmen, José, Frasquita, Mercédès)
- Act III: Oui je reste!.. Je dis que rien ne m'épouvante (Air de Micaëla) (La Guide, Micaëla)
- Act III: Entr'acte (Orchestra)
- Act IV: A deux cuartos! (Cœur, Zuniga, Frasquita, Mercédès, Escamillio, Carmen)
- Act IV: C'est toi! C'est moi! (Carmen, José)
- Act IV: Où va-tu? (Finale) (Carmen, José, Chœur)
- Carmen: Prelude
- Carmen, Act I Scene 4: La cloche a sonné
- Carmen, Act I Scene 5: Mais nous ne voyons pas la Camencita
- Carmen, Act I Scene 5: L'amour est un oiseau rebelle
- Carmen, Act I Scene 6: Parle-moi de ma mère!
- Carmen, Act I Scene 10: Près des remparts de Séville
- Carmen, Act II Scene 1: Les tringles des sistres tintaient
- Carmen, Act II Scene 2: Votre toast... je peux vous le rendre
- Carmen, Act II Scene 5: La fleur que tu m'avais jetée
- Carmen, Act III Scene 5: Je dis que rien ne m'épouvante
- Carmen, Act III Scene 6: Je suis Escamillo, torero de Grenade
- Carmen, Act IV Scene 1: Les voici, voici le quadrille!
- Carmen, Act IV Scene 1: Si tu m'aimes, Carmen
- Carmen, Act IV Scene 2: C'est toi? - C'est moi
Carmen Suite 1 & 2 (London Festival Orchestra, Cond.: Alfred Scholz)
(Released 1999)
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- Carmen Suite No.1 - Prélude
- Carmen Suite No.1 - Aragonaise
- Carmen Suite No.1 - Intermezzo
- Carmen Suite No.1 - Seguidilla
- Carmen Suite No.1 - Les Dragons d'Alcala
- Carmen Suite No.1 - Les Toreadors
- Carmen-Suite No.2 - Marche de contre banderos
- Carmen Suite No.2 - Habanera
- Carmen Suite No.2 - Nocturne
- Carmen-Suite No.2 - Chant de Toreadors
- Carmen Suite No.2 - La garde montante
- Carmen Suite No.2 - Danse bohème
- L'Arlésienne - Suite No.1 - Prélude
- L' Arlésienne-Suite No.1 - Menuett
- L'Arlésienne, Suite No.1 - Adagietto
- L'Arlésienne - Suite No.1 - Carillon
- L'Arlésienne - Suite No.2 - Pastorale
- L'Arlésienne - Suite No.2 - Intermezzo
- L' Arlésienne-Suite No.2 - Menuett
- L'Arlésienne - Suite No.2 - Farandole
Carmen (L'Orchestre de la Suisse Romande feat. conductor Thomas Schippers)
(Released 1998)
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- Prélude
- Acte I: Sur la place, chacun passe
- Acte I: Avec la garde montante
- Acte I: La cloche a sonné
- Acte I: Mais nous ne voyons pas
- Acte I: L'amour est un oisseau rebelle
- Acte I: Carmen! sur tes pas
- Acte I: Quels regards! Quelle effronterie!
- Acte I: Que se passe-t-il donc là bas?
- Acte I: Mon officier, c'était une querelle
- Acte I: Près des remparts de Séville
- Acte I: Voici l'ordre; partez
- Entr'acte
- Acte II: Les tringles des sistres tintaient
- Acte II: Vivat, vivat le torero
- Acte II: Votre toast
- Acte II: Eh bien, vite, quelles nouvelles?
- Acte II: Halte-là! Qui va là? Dragon d'Alcala!
- Acte II: Je vais danser en votre honneur
Carmen (Highlights) (London Philharmonic Orchestra feat. conductor: Georg Solti, mezzo-soprano: Tatiana Troyanos, tenor: Plácido Domingo)
(Released 1998)
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- Acte I: Prélude
- Acte I: Habanera
- Acte I: Parle-moi de ma mère
- Acte I: Près des remparts de Séville (Seguidilla)
- Acte II: Les tringles des Sistres tintaient
- Acte II: Toreador Song
- Acte II: Nous avons en tête une affaire
- Acte II: Flower Song
- Acte II: Non! Tu ne m'aimes pas!
- Acte III: Mêlons! Coupons!
- Acte III: Je dis que rien ne m'epouvante
- Acte IV: Les voici, les voici
- Acte IV: C'est toi! - C'est moi!
- Carmen Suite No.1 - Les Toréadors: Allegro giocoso (Introduction to Act I)
- Carmen Suite No.1 - Prélude: Andante moderato (Prelude to Act I)
- Carmen Suite No.1 - Aragonaise: Allegro vivo (Prélude to Act IV)
- Carmen Suite No.1 - Intermezzo: Andantino quasi Allegretto (Prélude to Act III)
- Carmen Suite No.1 - Seguedille: Allegretto (Act I)
- Carmen Suite No.1 - Les dragons d'Acala: Allegro moderato (Prélude to Act II)
- Carmen Suite No.2 - Marche des Contrebandiers. Allegro moderato (Act III)
- Carmen Suite No.2 - Habanera. Allegretto quasi Andantino (Act I)
- Carmen Suite No.2 - Nocturne. Andantino molto (Act III)
- Carmen Suite No.2 - Chanson du Toréador (Act III)
- Carmen Suite No.2 - La Garde montante. Allegro (Act I)
- Carmen Suite No.2 - Danse bohême. Andante quasi Allegretto (Act II)
- L'Arlésienne Suite No.1 - I. Prelude: Allegro deciso (Tempo di Marcia) - Andantino
- L'Arlésienne Suite No.1 - I. Andante molto
- L'Arlésienne Suite No.1 - II. Menuetto: Allegro giocoso
- L'Arlésienne Suite No.1 - III. Adagietto: Adagio
- L'Arlésienne Suite No.1 - IV Carillon: Allegro moderato - Andantino - Tempo I
- L'Arlésienne Suite No.2 - I. Pastorale: Andante sostenuto assai - Andantino - Tempo I
- L'Arlésienne Suite No.2 - II. Intermezzo: Andante moderato ma con moto - Allegro moderato
- L'Arlésienne Suite No.2 - III. Menuet: Andantino quasi Allegretto
- L'Arlésienne Suite No.2 - IV. Farandole: Allegro deciso (Tempo di Marcia) - Allegro vivo e deciso
Carmen (Orchestre du Théâtre National de l'Opéra de Paris feat. conductor: Georges Prêtre, soprano: Maria Callas)
(Released 1997)
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- Carmen: Prélude
- Carmen, Act I: Sur la place
- Carmen, Act I: Avec la garde montante
- Carmen, Act I: C'est bien là, n'est-ce pas
- Carmen, Act I: La cloche a sonné... / Dans l'air, nous suivons des yeux la fumée
- Carmen, Act I: Quand je vous aimerai...? / L'amour est un oiseau rebelle
- Carmen, Act I: Carmen ! sur tes pas nous nous pressons tous !
- Carmen, Act I: Quels regards ! Quelle effronterie !
- Carmen, Act I: Parle-moi de ma mère !
- Carmen, Act I: Reste là, maintenant, pendant que je lirai
- Carmen, Act I: Que se passe-t-il donc là-bas ? / Au secours ! Au secours !
- Carmen, Act I: Mon officier, c'était une querelle
- Carmen, Act I: Près des remparts de Séville
- Carmen, Act I: Voici l'ordre ; partez
- Carmen, Act I: Entr'acte
- Carmen, Act II: Les tringles des sistres tintaient
- Carmen, Act II: Messieurs, Pastia me dit
- Carmen, Act II: Vivat ! vivat le toréro !
- Carmen, Act II: Votre toast, je peux vous le rendre
- Carmen, Act II: La belle, un mot
- Carmen, Act II: Eh bien ! vite, quelles nouvelles ? / Nous avons en tête une affaire !
Carmen & L'Arlésienne Suites (New York Philharmonic feat. conductor: Leonard Bernstein)
(Released 1997)
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- Carmen Suite No. 1: Prélude / Les Toréadors. Allegro giocoso
- Carmen Suite No. 1: Prélude. Andante moderato
- Carmen Suite No. 1: Entr'acte (Act III/Act IV) / Aragonaise. Allegro vivo
- Carmen Suite No. 1: Entr'acte (Act II/Act III) / Intermezzo. Andantinoquasi allegretto
- Carmen Suite No. 1: Seguidilla. Allegretto (Act I)
- Carmen Suite No. 1: Entr'acte (Act I/Act II) / Les dragons d'Alcala. Allegro moderato
- Carmen Suite No. 2: Marche des contrebandiers. Allegro moderato (Act III)
- Carmen Suite No. 2: Habanera. Allegretto quasi andantino (Act I)
- Carmen Suite No. 2: Nocturne. andantino molto (Act III)
- Carmen Suite No. 2: Chanson du toréador. Allegro moderato (Act II)
- Carmen Suite No. 2: La garde montante. Allegro (Act I)
- Carmen Suite No. 2: Danse bohême. Andante quasi allegretto (Act II)
- L' Arlésienne Suite No. 1: I. Prélude. Allegro deciso (Tempo di marcia) / Andantino
- L' Arlésienne Suite No. 1: I. Prélude. Andante molto
- L' Arlésienne Suite No. 1: II. Minuetto. Allegro giocoso
- L' Arlésienne Suite No. 1: III. Adagietto. Adagio
- L' Arlésienne Suite No. 1: IV. Carillon. Allegro moderato / Andantino. Tempo I
- L' Arlésienne Suite No. 2 (arr.: Guiraud): I. Pastorale. Andante sostenuto assai / Andantino. Tempo I
- L' Arlésienne Suite No. 2 (arr.: Guiraud): II. Intermezzo. Andante moderato ma con moto / Allegro moderato
- L' Arlésienne Suite No. 2 (arr.: Guiraud): III. Menuet. Andantino quasi allegretto
- L' Arlésienne Suite No. 2 (arr.: Guiraud): IV. Farandole. Allegro deciso (Tempo di marcia) / Allegro vivo e deciso
- Agnus Dei (Orchester und Chor der Stuttgarter Oper feat. conductor: Alexander von Pitamic)
- Carmen: Habañera (London Festival Orchestra feat. conductor: Alfred Scholz)
- Carmen: Danse bohème (London Festival Orchestra feat. conductor: Alfred Scholz)
- Carmen: La fleur que tu m'avais jetée (Nürnberger Symphoniker feat. conductor: Hanspeter Gmür)
- Carmen: Les voici la quadrille (Chor und Symphoniorchester des Slowenischen Rundfunks feat. conductor: Marco Munih)
- Kleine Suite für Orchester: Marsch (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
- Kleine Suite für Orchester: Berceuse (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
- Kleine Suite für Orchester: Impromptu (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
- Kleine Suite für Orchester: Duo (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
- Kleine Suite für Orchester: Galopp (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
- Symphonie in C-Dur: Allegro vivo (London Festival Orchester feat. conductor: Alfred Scholz)
- Symphonie in C-Dur: Adagio (London Festival Orchester feat. conductor: Alfred Scholz)
- Symphonie in C-Dur: Allegro vivace (London Festival Orchester feat. conductor: Alfred Scholz)
- Symphonie in C-Dur: Allegro vivace (London Festival Orchester feat. conductor: Alfred Scholz)
Carmen (Orchestre National Bordeaux Aquitaine feat. conductor: Alain Lombard)
(Released 1995)
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- Carmen: Prelude
- Carmen: Act I. "Sur la place chacun passe"
- Carmen: Act I. "Avec la garde montante"
- Carmen: Act I. "Il y a une jolie fille qui est venue te demander"
- Carmen: Act I. "Dites-moi brigadier"
- Carmen: Act I. "La cloche a sonné"
- Carmen: Act I. "L'amour est un oiseau rebelle"
- Carmen: Act I. "Carmen, sur tes pas nous nous pressons tous"
- Carmen: Act I. "Micaela! quest-ce que tu fais ici"
- Carmen: Act I. "Parle-moi de ma mère"
- Carmen: Act I. "Attends un peu, je vais lire sa lettre"
- Carmen: Act I. "Au secours, n'entendez-vous pas?"
- Carmen: Act I. "Voyons brigadier"
- Carmen: Act I. "Tra la la"
- Carmen: Act I. "Où me conduirez-vous"
- Carmen: Act I. "Près des remparts"
- Carmen: Act I. "Voici lordre, partez!"
- Carmen: Entr'acte
- Carmen: Act II. Chanson bohème
- Carmen: Act II. "Il commence à se faire tard"
- Carmen: Act II. "Vivat! vivat! le toréro"
- Carmen: Act II. "Votre toast, je peux vous le rendre"
- Carmen: Act II. "Messieurs les officiers, je vous en prie"
- Carmen: Act II. "Toreador, en garde!"
- Carmen: Act II. "Pourquoi étais-tu si presse"
- Carmen: Act II. "Nous avons en tête une affaire"
- Carmen: Act II. "En voila assez, je tai dit"
- Carmen: Act II. "Halte-là, qui va là"
- Carmen: Act II. "Halte-là..."
- Carmen: Act II. "Enfin, te voila"
Symphony in C major (New Zealand Symphony Orchestra feat. conductor: Donald Johanos)
(Released 1994)
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- Symphony in C major: I. Allegro vivo
- Symphony in C major: II. Adagio
- Symphony in C major: III. Allegro vivace
- Symphony in C major: IV. Allegro vivace
- Petite Suite: I. Marche
- Petite Suite: II. Berceuse
- Petite Suite: III. Impromptu
- Petite Suite: IV. Duo
- Petite Suite: V. Galop
- La Jolie Fille de Perth: I. Prelude
- La Jolie Fille de Perth: III. Marche
- La Jolie Fille de Perth: IV. Danse Bohémienne
Die Klassiksammlung 17: Bizet: Vollkommenheit der Form (London Festival Orchestra feat. conductor: Alfred Scholz)
(Released 1993)
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- Carmen-Suite Nr. 1: Prélude
- Carmen-Suite Nr. 1: Aragonaise
- Carmen-Suite Nr. 1: Intermezzo
- Carmen-Suite Nr. 1: Seguidilla
- Carmen-Suite Nr. 1: Les Dragons d'Alcala
- Carmen-Suite Nr. 1: Les Toreadors
- Carmen-Suite Nr. 2: Marche de contre baderos
- Carmen-Suite Nr. 2: Habanera
- Carmen-Suite Nr. 2: Nocturne
- Carmen-Suite Nr. 2: Chant de Toreadors
- Carmen-Suite Nr. 2: La garde montante
- Carmen-Suite Nr. 2: Danse bohème
- L'Arlesienne-Suite Nr. 1: Prélude
- L'Arlesienne-Suite Nr. 1: Menuett
- L'Arlesienne-Suite Nr. 1: Adagietto
- L'Arlesienne-Suite Nr. 1: Carillon
- L'Arlesienne-Suite Nr. 2: Patorale
- L'Arlesienne-Suite Nr. 2: Intermezzo
- L'Arlesienne-Suite Nr. 2: Menuett
- L'Arlesienne-Suite Nr. 2: Farandole
- Carmen: Prélude
- Carmen, Act 1: La cloche a sonné... L'amour est un oiseau rebelle
- Carmen, Act 1: Près des remparts de Séville
- Carmen, Act 2: Les tringles des sistres tintaient
- Carmen, Act 2: Votre toast... Toréador en garde!
- Carmen, Act 2: Nous avons en tête une affaire
- Carmen, Act 2: Au Quartier... La fleur que tu m'avais jetée
- Carmen, Act 3: Mélons! Coupons!... En vain, pour éviter
- Carmen, Act 3: C'est des contrebandiers... Je dis que rien
- Carmen, Act 3: C'est toi! C'est moi!
- Carmen Suite No. 1: Prelude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Seguidilla
- Carmen Suite No. 1: The Dragoons Of Alcala
- Carmen Suite No. 1: Los Toreadores
- Carmen Suite No. 2: Smugglers' March
- Carmen Suite No. 2: Habañera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: Song Of The Toreador
- Carmen Suite No. 2: Changing Of The Guard
- Carmen Suite No. 2: Bohemian Dance
- L'Arlesienne Suite No. 1: Prelude
- L'Arlesienne Suite No. 1: Minuet
- L'Arlesienne Suite No. 1: Adagietto
- L'Arlesienne Suite No. 1: Carillon
- L'Arlesienne Suite No. 2: Pastorale
- L'Arlesienne Suite No. 2: Intermezzo
- L'Arlesienne Suite No. 2: Menuetto
- L'Arlesienne Suite No. 2: Farandole
L'Arlésienne, Suites Nos. 1 & 2 / Carmen, Suites Nos. 1 & 2 (Philharmonia Cassovia feat. conductor: Alfred Walter)
(Released 1992)
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- L'Arlésienne, Suite No. 1: I. Prélude
- L'Arlésienne, Suite No. 1: II. Minuet
- L'Arlésienne, Suite No. 1: III. Adagietto
- L'Arlésienne, Suite No. 1: IV. Carillon
- L'Arlésienne, Suite No. 2: V. Pastorale
- L'Arlésienne, Suite No. 2: VI. Intermezzo
- L'Arlésienne, Suite No. 2: VII. Minuet
- L'Arlésienne, Suite No. 2: VIII. Farandole
- Carmen, Suite No. 1: I. Prélude - Aragonaise
- Carmen, Suite No. 1: II. Intermezzo
- Carmen, Suite No. 1: III. Sequidilla
- Carmen, Suite No. 1: IV. Les dragons de Alcala
- Carmen, Suite No. 1: V. March du toréador
- Carmen, Suite No. 2: I. Marche des contrabandiers
- Carmen, Suite No. 2: II. Habanera
- Carmen, Suite No. 2: III. Nocturne
- Carmen, Suite No. 2: IV. Chanson du toréador
- Carmen, Suite No. 2: V. Garde montant
- Carmen, Suite No. 2: VI. Danse bohémienne
Smetana: The Moldau / Mendelssohn: A Midsummer Night's Dream / Bizet: Symphony No. 1
(Released 1992)
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- The Moldau: Allegro commodo non agitato - L'istesso tempo ma moderato - L'istesso tempo - Tempo I - Più moto
- A Midsummer Night's Dream: I. Overture, Op. 21: Allegro di molto
- A Midsummer Night's Dream: II. Scherzo, Op. 61 No. 1: Allegro vivace
- A Midsummer Night's Dream: III. Nocturne, Op. 61 No. 7: Con moto tranquillo
- A Midsummer Night's Dream: IV. Intermezzo, Op. 61 No. 5: Allegro appassionato - Allegro molto comodo
- A Midsummer Night's Dream: V. Wedding March, Op. 61 No. 9: Allegro vivace
- Symphony No. 1 in C major: I. Allegro vivo
- Symphony No. 1 in C major: II. Adagio
- Symphony No. 1 in C major: III. Allegro vivace
- Symphony No. 1 in C major: IV. Allegro vivace
Carmen (Orchestre du Théâtre National de l'Opéra de Paris feat. conductor: Georges Prêtre, soprano: Maria Callas)
(Released 1991)
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- Acto I: Obertura
- Acto I: Sur la place
- Acto I: Avec la garde montante...
- Acto I: C'est bien là, n'est-ce pas...
- Acto I: La cloche a sonné... / Dans l'air, nous suivons des yeux la fumée
- Acto I: Quand je vous aimerai ? / L'amour est un oiseau rebelle
- Acto I: Carmen ! sur tes pas, nous nous pressons tous !
- Acto I: Quels regards ! Quelle effronterie !
- Acto I: Parle-moi de ma mère
- Acto I: Reste là, maintenant, pendant que je lirai
- Acto I: Que se passe-t-il donc là-bas ? / Au secours ! Au Secours !
- Acto I: Mon officier, c'était une querelle...
- Acto I: Près des remparts de Séville
- Acto I: Final: Voici l'ordre, partez
Carmen (Slovak Radio Symphony Orchestra, Slovak Philharmonic Chorus feat. conductor: Alexander Rahbari)
(Released 1991)
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- Carmen: Act III. Entr'acte
- Carmen: Act III. Ecoute, ecoute, compagnon
- Carmen: Act III. Melons! coupons!
- Carmen: Act III. Quant au douanier, c'est notre affaire!
- Carmen: Act III. Je dis que rien m'epouvante
- Carmen: Act III. Je suis Escamillo
- Carmen: Act III. Hola! hola! Jose!
- Carmen: Act III. Moi je viens te chercher!
- Carmen: Act III. Helas! Jose!
- Carmen: Act IV. Entr'acte
- Carmen: Act IV. A deux cuartos
- Carmen: Act IV. Les voici! les voici!
Carmen (The Metropolitan Opera Orchestra feat. conductor: Leonard Bernstein, choir: Manhattan Opera Chorus)
(Released 1991)
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- Prélude
- Acte 1, No. 1 : Introduction : « Sur la place chacun passe »
- Acte 1, No. 2 : Marche et Chœur des gamins : « Allez, dépêchez-vous !... Avec la garde montante »
- Acte 1 : « Dites-moi, brigadier ? »
- Acte 1, No. 3 : Chœur et Scène : « Voici la cloche qui sonne... La cloche a sonné »
- Acte 1 : « Mais nous ne voyons pas la Carmencita »
- Acte 1, No. 4 : Havanaise : « L'amour est un oiseau rebelle »
- Acte 1, No. 5 : Scène : « Carmen, sur tes pas nous nous pressons tous »
- Acte 1 : « Monsieur le brigadier ? » / No. 6 : Duo : « Parle-moi de ma mère ! »
- Acte 1 : « Attends un peu maintenant »
- Acte 1, No. 7 : Chœur : « Eh bien ! Qu'est-ce qui arrive ?... Au secours ! Au secours ! »
- Acte 1: « Eh bien, brigadier ? » / No. 8 : Chanson et mélodrame : « Tra la la la... »
- Acte 1, No. 9 : Chanson et duo : « Près des remparts de Seville »
- Acte 1, No. 10 : Finale : « Le lieutenant ! Prenez garde !... L'amour est enfant de Bohème »
- Overture
- Chorus of Cigarette Girls
- La voila, la voila
- Habanera
- Seguidilla
- Act II Entr'acte
- Gypsy Song
- Messrs., Pastia me dit
- Vivat! Vivat le Toreo!
- Toreador Song
- Quintet
- Lalalala - Attends un pew, Carmen
- Flower Song
- Act III Entr'acte
- Card Scene
- Micaela's Air
- Act IV Entr'acte
- C'est toi! C'est moi!
- Ou vas-tu?-Laisse-moi!
- Les Pêcheurs de perles: Prélude
- Les Pêcheurs de perles: Acte I. Chœur "Sur la grève en feu" (Chœur)
- Les Pêcheurs de perles: Acte I. Scène et chœur "Amis, interrompez vos danses" (Zurga, Nadir, Chœur)
- Les Pêcheurs de perles: Acte I. Récit et reprise du chœur dansé "Demeure parmi nous, Nadir" (Zurga, Nadir, Chœur)
- Les Pêcheurs de perles: Acte I. Récit "C'est toi ! toi qu'enfin je revois" (Zurga, Nadir)
- Les Pêcheurs de perles: Acte I. Duo "Au fond du temple saint" (Zurga, Nadir)
- Les Pêcheurs de perles: Acte I. Récit "Que vois-je ?" (Zurga, Nadir)
- Les Pêcheurs de perles: Acte I. Chœur "Elle vient ... Sois le bienvenue" (Chœur)
- Les Pêcheurs de perles: Acte I. Scène et chœur "Seule au milieu de nous" (Zurga, Leïla, Chœur)
- Les Pêcheurs de perles: Acte I. Récit "A cette voix" (Nadir)
- Les Pêcheurs de perles: Acte I. Romance "Je crois encore entendre" (Nadir)
- Les Pêcheurs de perles: Acte I. Scène et chœur "Le ciel est bleu" (Nadir, Nourabad, Chœur)
- Les Pêcheurs de perles: Acte I. Air et chœur "Ô Dieu Brahma !" (Leïla, Nadir, Chœur)
- Les Pêcheurs de perles: Acte II. Entracte, scène et chœur "L'ombre descend des cieux" (Leïla, Nourabad, Chœur)
- Les Pêcheurs de perles: Acte II. Récit et cavatine "Me voilà seule dans la nuit" (Leïla)
- Les Pêcheurs de perles: Acte II. Chanson "De mon amie" (Nadir, Leïla)
- Les Pêcheurs de perles: Acte II. Duo "Leïla ! Dieu puissant" (Nadir, Leïla)
- Les Pêcheurs de perles: Acte II. Final (debut) "Ah ! Revenez à la raison" (Leïla, Nadir, Nourabad, Chœur)
Les pêcheurs de perles (Chœurs et Orchestre du Capitole de Toulouse feat. conductor: Michel Plasson)
(Released 1989)
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- Les pêcheurs de perles, Prélude
- Les pêcheurs de perles, Acte I N° 1: Sur la grève en feu
- Les pêcheurs de perles, Acte I N° 1: Amis, interrompez vos danses...
- Les pêcheurs de perles, Acte I N° 1: Demeure parmi nous, Nadir... - Sur la grève en feu
- Les pêcheurs de perles, Acte I N° 2: C'est toi, toi qu'enfin je revois
- Les pêcheurs de perles, Acte I N° 2: Au fond du temple saint
- Les pêcheurs de perles, Acte I N° 3: Que vois-je?
- Les pêcheurs de perles, Acte I N° 3: Sois la bienvenue
- Les pêcheurs de perles, Acte I N° 3: Seule au milieu de nous... - Brahma, divin Brahma!
- Les pêcheurs de perles, Acte I N° 4: A cette voix
- Les pêcheurs de perles, Acte I N° 4: Je crois entendre encore
- Les pêcheurs de perles, Acte I N° 5: Le ciel est bleu
- Les pêcheurs de perles, Acte I N° 5: O Dieu Brahma
- Les pêcheurs de perles, Acte II N° 6: L'ombre descend des cieux
- Les pêcheurs de perles, Acte II N° 7: Me voilà seule dans la nuit... - Comme autrefois
L'Arlésienne Suiten Nos. 1 & 2 / Carmen Suite No. 1 (London Symphony Orchestra feat. conductor: Claudio Abbado)
(Released 1988)
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- L'Arlésienne Suite No. 1: Prélude. Allegro deciso (Tempo di marcia) - Andantino - Andante molto
- L`Arlésienne Suite No. 1: Minuetto. Allegro giocoso
- L'Arlésienne Suite No. 1: Adagietto - adagio
- L'Arlésienne Suite No. 1: Carillon. Allegro molto - Andantino - Tempo I
- L'Arlésienne Suite No. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I
- L'Arlésienne Suite No. 2: Intermezzo. Andante moderato ma con moto - Allegro moderato
- L'Arlésienne Suite No. 2: Menuet. Andantino quasi allegretto
- L'Arlésienne Suite No. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso
- Carmen Suite No. 1: Prélude. Allegro giocoso
- Carmen Suite No. 1: Entr'acte II. Allegro moderato
- Carmen Suite No. 1: Entr'acte III. Andantino quasi allegretto
- Carmen Suite No. 1: Entr'acte IV. Allegro vivo
L'Arlesienne & Carmen Suites (Orchestre Symphonique de Montreal feat. conductor: Charles Dutoit)
(Released 1988)
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- L'Arlesienne Suite No.1: Prelude
- L'Arlesienne Suite No.1: Minuetto
- L'Arlesienne Suite No.1: Adagietto
- L'Arlesienne Suite No.1: Carillion
- L'Arlesienne Suite No.2: Pastorale
- L'Arlesienne Suite No.2: Intermezzo
- L'Arlesienne Suite No.2: Menuet
- L'Arlesienne Suite No.2: Farandole
- Carmen Suite No.1: Aragonaise
- Carmen Suite No.1: Intermezzo
- Carmen Suite No.1: Segeudille
- Carmen Suite No.1 - Les Dragons d'Alcala
- Carmen Suite No.1: Les Toreadores
- Carmen Suite No.2: Marche des contrebandiers
- Carmen Suite No.2: Habanera
- Carmen Suite No.2: Nocturne
- Carmen Suite No.2: Chanson de Toreador
- Carmen Suite No.2: La garde montante
- Carmen Suite No.2: Danse Boheme
Les Pêcheurs De Perles / IVAN IV (Chœurs et Orchestre du Théatre National de l'Opéra Comique feat. Pierre Dervaux)
(Released 1988)
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- Prélude
- Sur la grève en feu
- Amis, interrompez vos danses
- Demeure parmi nous, Nadir
- C'est toi, toi qu'enfin je revois !
- Au fond du temple saint
- Que vois-je ?
- C'est elle ! Elle vient !...Sois la bienvenue
- Seule au milieu de nous
- À cette voix
- Je crois entendre encore
- Le ciel est bleu
- Ô Dieu Brahma !
- La, la, la...L'ombre descend des cieux
- Me voilà seule dans la nuit
- De mon amie
- Léïla !...Dieu puissant
- Ah ! revenez à la raison !
- Arrêtez ! Arrêtez ! C'est à moi d'ordonner
L'Arlésienne Suites / Carmen Suites (Radio Symphony Orchestra Ljubljana feat. conductor Anton Nanut)
(Released 1988)
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- Carmen Suite No. 1: Prélude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo / Interlude
- Carmen Suite No. 1: Seguedille
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 1: Les toréadors
- Carmen Suite No. 2: Marche des contrabandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: Chanson du toréador
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohémienne
- L'Arlésienne Suite No. 1: I. Ouverture
- L'Arlésienne Suite No. 1: II. Menuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: III. Menuetto
- L'Arlésienne Suite No. 2: IV. Farandole
- Prelude-Aragonaise
- Intermezzo
- Seguedille
- Les drangons d'Alcala
- Les toreadors
- Patrie (Overture)
- Les pecheurs de perles: Prelude
- Marche des contrebandiers
- Habanera
- Nocturne
- Chanson du toreador
- La Garde montante
- Dance boheme
Carmen (London Symphony Orchestra feat. conductor: Claudio Abbado)
(Released 1987)
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- Carmen: Act I. Prélude
- Carmen: Act I. Introduction "Sur la place chacun passe"
- Carmen: Act I. "Regardez donc cette petite" (Moralès, Les Soldats, Micaëla)
- Carmen: Act I. "Avec la garde montante" (Choeur des Gamins)
- Carmen: Act I. "Repos!" (Zuniga, Moralès, Don José)
- Carmen: Act I. "Allons! Allons!" (Zuniga, Choeur des Gamins)
- Carmen: Act I. "Dites-moi, brigadier?" (Zuniga, Don José)
- Carmen: Act I. "La cloche a sonné" (Les Jeunes Gens, Les Soldats, Les Cigarières)
- Carmen: Act I. "Mais nous ne voyons pas la Carmencita" (Les Soldats, Les Jeunes Gens)
- Carmen: Act I. "Quand je vous aimerai" / Havanaise. "L'amour est un oiseau rebelle" (Carmen, Choeur)
- Carmen: Act I. "Carmen, sur tes pas, nous nous pressons tous" (Les Jeunes Gens, Les Cigarières, Don José)
- Carmen: Act I. "Monsieur le brigadier?" (Micaëla, Don José) / "Parle-moi de ma mère!" (Don José, Micaëla)
- Carmen: Act I. "Votre mère avec moi sortait de la chapelle" (Micaëla, Don José)
- Carmen: Act I. "Ma mère, je la vois..." (Don José, Micaëla)
- Carmen: Act I. "Que son fils l'aime et la venère" (Don José, Micaëla) / "Eh bien, eh bien!" (Zuniga)
- Carmen: Act I. "Au secours!" (Les Cigarières, Zuniga, Les Soldats)
- Carmen: Act I. "Voyons, brigadier..." (Zuniga, Don José, Carmen) / "Tra la la la..." (Zuniga, Les Cigarières, Un Soldat, Don José)
- Carmen: Act I. Chanson et duo "Près des remparts de Séville"
- Carmen: Act I. "Le lieutenant!... Prenez garde." (Don José, Zuniga, Carmen)
Carmen / L'Arlésienne (Suites) (Slovak Philharmonic Orchestra feat. conductor: Anthony Bramall)
(Released 1987)
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- Carmen Suite No. 1: Prélude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Seguedille
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 1: Les toréadors
- Carmen Suite No. 2: Marche des contrabandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: Chanson du toréador
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohémienne
- L'Arlésienne Suite No. 1: I. Prélude
- L'Arlésienne Suite No. 1: II. Minuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: III. Menuet
- L'Arlésienne Suite No. 2: IV. Farandole
- L'Arlesienne-Suite No. 1: 1. Prélude. Allegro deciso (Tempo di Marcia) - Andantino - Andante molto
- L'Arlesienne-Suite No. 1: 2. Minuetto. Allegro giocoso
- L'Arlesienne-Suite No. 1: 3. Adagietto (Adagio)
- L'Arlesienne-Suite No. 1: 4. Carillon. Allegro moderato - Andantino - Tempo I
- L'Arlesienne-Suite No. 2: 1. Pastorale. Andante sostenuto assai - Andantino - Tempo I
- L'Arlesienne-Suite No. 2: 2. Intermezzo. Andante moderato ma con moto - Allegro moderato
- L'Arlesienne-Suite No. 2: 3. Menuet. Andantino quasi Allegretto
- L'Arlesienne-Suite No. 2: 4. Farandole. Allegro deciso (Tempo di Marcia) - Allegro vivo e deciso
- Carmen-Suite: 1. Prélude I. Allegro giocoso
- Carmen-Suite: 2. Entr'acte II. Allegro moderato
- Carmen-Suite: 3. Entr'acte III. Allegretto quasi Andantino
- Carmen-Suite: 4. Entr'acte IV. Allegro vivo
L'Arlesienne: Suites Nos. 1 & 2 / Carmen: Suite No. 1 (Berliner Philharmoniker feat. conductor: Herbert von Karajan)
(Released 1985)
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- L'Arlesienne Suite No. 1: I. Prélude
- L'Arlesienne Suite No. 1: II. Minuetto
- L'Arlesienne Suite No. 1: III. Adagietto
- L'Arlesienne Suite No. 1: IV. Carillon
- L'Arlesienne Suite No. 2: I. Pastorale
- L'Arlesienne Suite No. 2: II. Intermezzo
- L'Arlesienne Suite No. 2: III. Menuet
- L'Arlesienne Suite No. 2: IV. Farandole
- Carmen Suite No. 1: I. Prelude. Allegro giocoso
- Carmen Suite No. 1: II. Entr'acte II. Allegro moderato
- Carmen Suite No. 1: III. Entr'acte III. Andantino quasi allegretto
- Carmen Suite No. 1: IV. Entr'acte IV. Allegro vivo
Carmen (London Philharmonic Orchestra feat. conductor: Sir Georg Solti)
(Released 1985)
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- Carmen: Prélude
- Carmen, Act I: Sur la place, chacun passe
- Carmen, Act I: Avec la garde montante
- Carmen, Act I: La cloche a sonné
- Carmen, Act I: Mais nous ne voyons pas la carmencita !
- Carmen, Act I: L'amour est un oiseau rebelle
- Carmen, Act I: Carmen ! Sur tes pas nous nous pressons tous !
- Carmen, Act I: Parle-moi de ma mère !
- Carmen, Act I: Au secours ! Au secours !
- Carmen, Act I: Avez vous quelque chose à répondre ?
- Carmen, Act I: Près des remparts de séville
- Carmen, Act I: Voici l'ordre ; Partez...
- 1er nocturne en fa majeur
- Variations chromatiques
- 1er caprice en ut dièse mineur
- 2e caprice en ut majeur
- La chasse fantastique
- Romance sans paroles
- Thème
- Valse en ut majeur
- Trois esquisses Musicales : Ronde turque, sérénade, caprice
- The Search for Carmen
- Stop Crying
- Bulerias
- Adagio
- The Women's Knife Fight in "La tabacalera de Sevilla" / The Soldiers Arrest Carmen
- Intermezzo
- Habanera
- Fiesta Popular
- Guitar Strumming
- The Company Rehearses
- Love Theme and Premonition
- Fight With Sticks
- Carmens' Infidelity
- El Gato Montés
- Show-Down Between Escamillo and Don Jose
- Finale
Carmen, enregistrement original du film de Francesco Rosi
(Released 1984)
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- Ouverture
- Habanera
- Duo
- Séguedille et duo
- Chanson Bohème
- Couplets
- Don José
- Air
- Marche et choeur
- Duo et choeur final
Carmen (Highlights) (Berliner Philharmonic Orchestra - cond. Herbert von Karajan, soprano: Katia Ricciarelli, mezzo soprano: Agnes Baltsa, tenor: José Carreras)
(Released 1984)
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- Prélude
- Acte I: Sur la place (Micaela)
- Acte I: Avec la garde montante
- Acte I: L'amour est un oiseau rebelle (Carmen)
- Acte I: Monsieur le Brigadier / Parle-moi de ma mère (Don José, Micaela)
- Acte I: Près des remparts de séville (Carmen, Don José)
- Acte II: Les tringles des sistres tintaient (Carmen)
- Acte II: Vous avez quelque chose à nous dire
- Acte II: Vivat! Vivat le toréro (Carmen)
- Acte II: Votre toast, je peux vous le rendre (Escamillo, Carmen)
- Acte II: La fleur que tu m'avais jetée (Don José)
- Acte III: En vain, pour éviter les réponses Amères / Parlez encore, parlez, mes belles (Carmen)
- Acte III: A deux cuartos!
- Acte III: Musique de transition
- Acte III: C'est Toi - c'est moi (Carmen, Don José)
Carmen (Berliner Philharmoniker feat. conductor: Herbert von Karajan, Chœur de l'Opéra de Paris, mezzo-soprano: Agnes Baltsa, tenor: José Carreras)
(Released 1983)
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- Carmen, Acte III. No.19 : Trio: Mêlons ! Coupons ! (Frasquita, Mercédès)
- Carmen, Acte III. Carreau ! Pique ! ... La mort ! (Carmen)
- Carmen, Acte III. Parlez encore, parlez (Frasquita, Mercédès, Carmen)
- Carmen, Acte III. Alerte !!! No.20 : Morceau d'Ensemble (Le Dancaïre, Carmen, Frasquita, Mercédès, Don José)
- Carmen, Acte III. Nous y sommes, petite (Le guide, Micaëla)
- Carmen, Acte III. No.21 : Air : Je dis que rien ne m'épouvante, (Micaëla)
- Carmen, Acte III. Mais ... je ne me trompe pas ... (Micaëla, Escamillo, Don José)
- Carmen, Acte III. No.22 : Duo : Je suis Escamillo, Toréro de Grenade ! (Escamillo, Don José)
- Carmen, Acte III. No.23 : Final : Holà ! holà ! José ! (Carmen, Escamillo, Le Dancaïre, Les Contrebandières)
- Carmen, Acte III. Halte ! quelqu'un est là qui cherche à se cacher ! (Le Remendado, Carmen, Don José ...)
- Carmen : Entracte
- Carmen, Acte III. No.24 : Chœur: A dos cuartos ! (Les marchandes, Zuniga, Andrès, Un bohémien ...)
- Carmen, Acte III. Qu'avez-vous fait de la Carmencita ? No.25: Chœur et Scène (Zuniga,Frasquita,Andrès...)
- Carmen, Acte III. Si tu m'aimes, Carmen, (Escamillo, Carmen, Quatre alguazils, Frasquita, Mercédès)
- Carmen, Acte III. No.26 : Duo final : C'est toi ! C'est moi ! (Carmen, Don José, Chœur)
- Carmen Suite No. 1: I. Prélude
- Carmen Suite No. 1: II. Aragonaise
- Carmen Suite No. 1: III. Intermezzo
- Carmen Suite No. 1: IV. Séguedille
- Carmen Suite No. 1: V. Les dragons d'Alcala
- Carmen Suite No. 1: VI. Les Toréadors
- Carmen Suite No. 2: I. Marche des contrebandiers
- Carmen Suite No. 2: II. Habanera
- Carmen Suite No. 2: III. Nocturne
- Carmen Suite No. 2: IV. Chanson du toréador
- Carmen Suite No. 2: V. La garde mountante
- Carmen Suite No. 2: VI. Danse Bohéme
- L'Arlésienne, Suite No. 1: I. Prélude
- L'Arlésienne, Suite No. 1: II. Minuetto
- L'Arlésienne, Suite No. 1: III. Adagietto
- L'Arlésienne, Suite No. 1: IV. Carillon
- L'Arlésienne, Suite No. 2: I. Pastorale
- L'Arlésienne, Suite No. 2: II. Intermezzo
- L'Arlésienne, Suite No. 2: III. Menuet
- L'Arlésienne, Suite No. 2: IV. Farandole
- Avec la garde montante
- L'amour est un oiseau rebelle
- Parle-moi de ma mère
- Pres des remparts de Séville
- Les tringles des sistres tintaient
- Votre toast
- La fleur que tu m'avais jetée
- Mêlons! Coupons!
- Je dis, que rien ne m'épouvent
- Les voici!
- C'est toi...c'est moi!
- L'Arlesienne - Suite No.1 - Ouverture
- L'Arlesienne - Suite No.1 - Minuetto
- L'Arlesienne Suite No.1 - Adagietto
- L'Arlesienne Suite No.1 - Carillon
- Carmen Suite No.1 - Prelude
- Carmen Suite No.1 - Aragonaise
- Carmen Suite No.1 - Intermezzo
- Carmen - Suite No.1 - Seguedille
- Carmen Suite No.1 - Les Dragons d'Alcala
- Carmen Suite No.1 - Les Toreadors
- Carmen - Suite No.2 - Marche des Contrebandi
- Carmen Suite No.2 - Habanera
- Carmen Suite No.2 - Nocturne
- Carmen - Suite No.2 - Chanson Du Toreador
- Carmen Suite No.2 - La garde montante
- Carmen - Suite No.2 - Danse Boheme
- L'Arlesienne Suite No.2 - Pastorale
- L'Arlesienne Suite No.2 - Intermezzo
- L'Arlesienne - Suite No.2 - Menuetto
- L'Arlesienne Suite No.2 - Farandole
Carmen & L'Arlésienne, Orchestral Suites (Orchestre National de Lille feat. conductor: Jean-Claude Casadesus)
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- Carmen Suite No. 1: Les Toréadors
- Carmen Suite No. 1: Les Dragons d'Alcala
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Prelude - Aragonaise
- Carmen Suite No. 2: Marche des Contrebandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: Chanson du Toréador
- Carmen Suite No. 2: La Garde Montante
- Carmen Suite No. 2: Danse Bohémienne
- L'Arlésienne Suite No. 1: Prélude
- L'Arlésienne Suite No. 1: Minuetto
- L'Arlésienne Suite No. 1: Adagietto
- L'Arlésienne Suite No. 1: Carrillon
- L'Arlésienne Suite No. 2: Pastorale
- L'Arlésienne Suite No. 2: Intermezzo
- L'Arlésienne Suite No. 2: Menuet
- L'Arlésienne Suite No. 2: Farandole
- Carmen Suite No. 1: I. Prelude to Act I
- Carmen Suite No. 1: II. Aragonaise (Prelude to Act IV)
- Carmen Suite No. 1: III. Intermezzo
- Carmen Suite No. 1: IV. Seguidilla
- Carmen Suite No. 1: V. Les dragons d'Alcala
- Carmen Suite No. 1: VI. Les Toréadors (Introduction to Act I)
- Carmen Suite No. 2: I. La Garde Montante
- Carmen Suite No. 2: II. Danse Bohème
- Peer Gynt Suite No. 2, Op. 55: I. Ingrid's Lament
- Peer Gynt Suite No. 2, Op. 55: II. Arabian Dance
- Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
- Peer Gynt Suite No. 1, Op. 46: II. Ase's Death
- Peer Gynt Suite No. 1, Op. 46: III. Anitra's Dance
- Peer Gynt Suite No. 1, Op. 46: IV. In the Hall of the Mountain King
- Russian Easter Overture, Op. 36
- Gymnopédie No. 1
- Gymnopédie No. 3
- In the Steppes of Central Asia
- Nocturne for String Orchestra (from Quartet No. 2)
- Avec la garde montante
- C'est Toi?...C'est Moi I
- Ecoute, compagnon
- Eh Bien! Vita, Quelles Nouvelles?
- La fleur que tu m'avais jetee
- La fleur que tu m'avais jetee
- Mon officier, c'etait une querelle
- Ne crains rien, ma mere
- Non! tu n'aimes pas!
- Parie-Moi De Ma Mere!
Carmen (Theatre National De L'Opera-Comique feat. conductor: André Cluytens)
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- Prélude
- Acte 1 - Sur la place chacun passe
- Acte 1 - Avec et garde montante
- Acte 1 - Dites-moi, Brigadier?
- Acte 1 - La Cloche a sonné
- Acte 1 - Quand je yous aimerai? - L'Amour est un oiseau rebelle
- Acte 1 - Carmen sur tes pas
- Acte 1 - Eh! Compère, qu'est ce que tu fais là?
- Acte 1 - Parle-moi de ma mère!
- Acte 1 - Maintenant, je vais lire sa lettre
- Acte 1 - Au secours! Au secours!
- Acte 1 - Voyons, Brigadier
- Acte 1 - Près des remparts de Séville
- Acte 1 - Voici l'ordre, partez
- Acte 1 - Entr'acte
- Acte 2 - Les Tringles des sistres tintaient
- Acte 2 - Vous avez quelque chose à nous dire
- Acte 2 - Vivat! Vivat le torero!
- Acte 2 - Votre toast, je peux vous le rendre
- Acte 2 - Messieurs les officiers
- Acte 2 - Nous avons en tête une affaire!
- Acte 2 - En voilà assez!
- Acte 2 - Halte, là!
- Acte 2 - Enfin, te voilà!
- Acte 2 - Je vais danser en votre honneur
- Acte 2 - La Fleur que tu m'aimes jetée
- Acte 2 - Non! Tu ne m'aimes pas!
- Acte 2 - Holà! Carmen! Holà! Holà!
- Overture
- Cain't Let You Go
- Honey Gal o' Mine / Good Luck Mr. Flyin' Man
- Dat's Love
- You Talk Jus' Like My Maw
- Dere's a Cafe on De Corner
- Beat Out Dat Rhythm on a Drum
- Stan' Up and Fight
- Whizzin' Away Along de Track
- Dis Flower
- If You Would Only Come Away
- De Cards Don' Lie / Dat Ol' Boy
- Poncho De Panther From Brazil
- My Joe
- Git Yer Program for De Big Fight
- Dat's Our Man!
- Finale
- Symphony in C: III. Allegro vivace
- Carmen: Habanera
- Carmen: Seguidilla
- Carmen Suite 1: Aragonaise
- Carmen Suite 1: Intermezzo
- Carmen Suite 1: Marche du toreador
- Carmen Suite 2: Nocturne
- Carmen Suite 2: Chanson du Toreador
- Carmen Suite 2: Danse bohemienne
- Les pecheurs de perles - Au fond du temple saint
- L'Arlesienne Suite 1: Minuet
- L'Arlesienne Suite 1: Adagietto
- L'Arlesienne Suite 2: Pastorale
- L'Arlesienne Suite 2: Minuet
- L'Arlesienne Suite 2: Farandole
- Jeux d'enfants: Berceuse
- Jeux d'enfants: Galop
- Danse Bohemienne
- Symphony in C: IV. Allegro vivace
Les Pêcheurs de perles (André Cluytens - Chœur et Orchestre du Théâtre National de l'Opéra-Comique)
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- Prélude
- I. Chœur : « Sur la grève en feu » les pêcheurs
- I. Scène et chœur : « Amis, interrompez vos danse » Zurga, les pêcheurs, Nadir
- I. Récit et reprise du chœur dansé : « Demeure parmi nous, Nadi » Zurga, Nadir, les pêcheurs
- I. Récit : « C'est toi ! toi qu'enfin je revois » Zurga, Nadir
- I. Duo : « Au fond du temple saint » Nadir, Zurga
- I. Récit : « Que vois-je ? » Zurga, Nadir, les pêcheurs
- I. Chœur : « Sois la bienvenue »
- I. Scène et chœur : « Seule au milieu de nous » Zurga, Leïla, chœur, Nourabad
- I. Récit : « A cette voix » Nadir
- I. Romance : « Je crois encore entendre » Nadir
- I. Scène et chœur : « Le ciel est bleu » chœur, Nourabad, Nadir
- I. Air et chœur : « Ô Dieu Brahma ! » Leïla, chœur, Nadir
- II. Entr'acte, chœur et scène : « L'ombre descend des cieux » chœur, Nourabad, Leïla
L'Arlésienne Suites / Carmen Suites (Philadelphia Orchestra feat. conductor: Eugene Ormandy)
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- L'Arlésienne Suite No. 1: Overture
- L'Arlésienne Suite No. 1: Menuetto
- L'Arlésienne Suite No. 1: Adagietto
- L'Arlésienne Suite No. 1: Carillon
- L'Arlésienne Suite No. 2: Pastorale
- L'Arlésienne Suite No. 2: Intermezzo
- L'Arlésienne Suite No. 2: Menuetto
- L'Arlésienne Suite No. 2: Farandole
- Carmen Suite No. 1: Act I Introduction
- Carmen Suite No. 1: Entr'acte (Act IV Prelude)
- Carmen Suite No. 1: Entr'acte (Act III Prelude)
- Carmen Suite No. 1: Séguedille
- Carmen Suite No. 1: Entr'acte (Act II Prelude)
- Carmen Suite No. 1: Act I Prelude
- Carmen Suite No. 2: March of the Smugglers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne (Micaela's Aria)
- Carmen Suite No. 2: Toreador Song
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohème
Carmen (Highlights) (Orchestre National de France feat. conductor: Seiji Ozawa, soprano: Jessye Norman)
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- Carmen: Prélude
- Carmen: Act I: Habanera "Mais nous ne voyons pas la Carmencita" - "L'amour est un oiseau rebelle"
- Carmen: Act I: Séguedille "Près des remparts de Séville"
- Carmen: Act II: Chanson "Les tringles des sistres tintaient"
- Carmen: Act II "Votre toast, je peux vous le rendre" - "Toreador, en garde"
- Carmen: Act II: Quintette "Nous avons en tête une affaire"
- Carmen: Act II: Air "La fleur que tu m'avais jetée"
- Carmen: Act II: Duo "Non ! tu ne m'aimes pas"
- Carmen: Act III: Trio des cartes "Mêlons ! Coupons !" - "En vain, pour éviter les réponses amères"
- Carmen: Act III: Air "Je dis que rien ne m'épouvante"
- Carmen: Act III: Duo final "C'est toi ! C'est moi !"
- Carmen Suite No. 1: I. Prelude
- Carmen Suite No. 1: II. Aragonaise
- Carmen Suite No. 1: III. Intermezzo
- Carmen Suite No. 1: IV. Seguedilla
- Carmen Suite No. 1: V. Les dragons d'Alcala
- Carmen Suite No. 1: VI. Les toreadors
- Carmen Suite No. 2: I. Marche des contrabandiers
- Carmen Suite No. 2: II. Habanera
- Carmen Suite No. 2: III. Nocturne
- Carmen Suite No. 2: IV. Chanson toreador
- Carmen Suite No. 2: V. Le garde montane
- Carmen Suite No. 2: VI. Danse boheme
- Symphony No. 1 in C major: I. Allegro vivo
- Symphony No. 1 in C major: II. Adagio
- Symphony No. 1 in C major: III. Scherzo - Allegro vivace
- Symphony No. 1 in C major: IV. Allegro vivace
- Prelude
- La cloche a sonnee
- Habanera
- Seguidilla & Duet
- Entr'acte
- Votre toast, je peux vous le rendre
- La fleur que tu m'avais jetee
- Entr'acte
- Ecoute, ecoute, compagnon
- Quant au dounanier, c'est notre affaire!
- Je dis que rien m'epouvante
- Entr'acte
- Les voici! les voici!
- Carmen Suite No. 1: Prélude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Seguidilla
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 1: Les toréadors
- Carmen Suite No. 2: Marche des contrebandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: Chant des toréadors
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohème
- L'Arlésienne Suite No. 1: Prélude
- L'Arlésienne Suite No. 1: Menuet
- L'Arlésienne Suite No. 1: Adagietto
- L'Arlésienne Suite No. 1: Carillon
- L'Arlésienne Suite No. 2: Pastorale
- L'Arlésienne Suite No. 2: Intermezzo
- L'Arlésienne Suite No. 2: Menuet
- L'Arlésienne Suite No. 2: Farandole
- Carmen Suite No. 1: Prélude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 1: Les toréadors
- Carmen Suite No. 2: Marche des contrebandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohème
- L'Arlésienne Suite No. 1: Prélude
- L'Arlésienne Suite No. 1: Minuetto
- L'Arlésienne Suite No. 1: Adagietto
- L'Arlésienne Suite No. 1: Carillon
- L'Arlésienne Suite No. 2: Pastorale
- L'Arlésienne Suite No. 2: Intermezzo
- L'Arlésienne Suite No. 2: Menuet
- L'Arlésienne Suite No. 2: Farandole
- Chanson d'Avril, Op. 21 No. 1
- Les pêcheurs de perles: Au fond du temple saint
- Jeux d'enfants, Op. 22 Suite: Marche: Trompette et tambour
- Jeux d'enfants, Op. 22 Suite: Berceuse: La poupée
- Jeux d'enfants, Op. 22 Suite: Impromptu: La Toupie
- Jeux d'enfants, Op. 22 Suite: Duo: Petit mari, petite femme
- Jeux d'enfants, Op. 22 Suite: Galop: Le bal
- Carmen: Act I: Prelude
- Carmen: Act I: Habanera
- Carmen: Act III: March of the Smugglers
- Carmen: Act I: Seguidilla
- Carmen: Act II: Flower Song
- Carmen: Act IV: March of the Toreadors & Chorus
- Carmen: Act II/III: Entr'acte
- Carmen: Act I/II: Entr'acte
- Carmen: Act III: Micaela's Aria
- Carmen: Act II: Bohemian Dance
- L'Arlesienne Suite No. 1: I Hear as in a Dream From the Pearl Fishers
- L'Arlesienne Suite No. 1: Overture
- L'Arlesienne Suite No. 1: Minuet
- L'Arlesienne Suite No. 1: Adagieto
- L'Arlesienne Suite No. 1: Carillon
- L'Arlesienne Suite No. 2: Farandole
- Symphony in C Major: Allegro Vivo
- Symphony in C Major: Adagio
- Symphony in C Major: Allegro Vivace
- Symphony in C Major: Allegro Vivace 2
- Overtures From Carmen: Overture From Act 1
- Overtures From Carmen; Overture From Act 2
- Overtures From Carmen: Overture From Act 3
- Overtures From Carmen: Overture From Act 4
- Prelude
- No. 1: Introduction: Sur la greve en feu
- No. 1: Scene et choeur: Amis, intercompez vos danses...
- No. 1: Recitatif: Mais qui vient la?
- No. 1: Couplet: Des savanes et des forets
- No. 2: Scene: C'est toi!
- No. 2: Duo:Au fond du temple saint
- No. 3: Recitatif: Que vois-je?
- No. 3: C'est elle, la voici
- No. 3: Scene: Seule au milieu de nous
- No. 3: Brahma, divin Brahma!
- No. 4: Recitatief: A cette voix quel trouble
- No. 4: Romance: Je crois entendre encore
- No. 5: Choeur et recitatief: Le ciel est bleu
- No. 5: Scene: O Dieu Brahma!
- No. 6: Scene: Les barques ont regagne la greve
- No. 7: Recitatif et Cavatine: Me voila seule . . . Comme autrefois
- No. 8: Serenade: De mon amie
- No. 9: Duo: Leila! Leila! Dieu puissant!
- No. 10: Final: Ah, revenez a la raison!
- Carmen Suite No. 1: Les Toréadors
- Carmen Suite No. 1: Prélude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Seguedilla
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 2: Marche des contrabandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: La Garde Montante
- Carmen Suite No. 2: Danse Bohème
- L'Arlésienne Suite No. 1: I. Prélude
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: VI. Farandole
- Overture
- Avec la garde montante
- L'amour est un oiseau rebelle
- C'est votre mère qui m'envoie
- Prés des remparts de Séville
- Les tringles des sistres tintaient
- Votre toast je peux vous le rendre
- La fleur que tu m'avais jetée
- Mêlons! coupons!
- C'est des contrebandiers
- Les voici
- C'est toi... C'est moi...
- Ouverture
- Acte I: Scène & choeur: Sur la place, chacun passe
- Acte I: Choeur des gamins: Avec la garde montante
- Acte I: Dialogue: Il y a une jolie fille qui est venue te demander
- Acte I: Choeur des Cigarières: La cloche a sonné
- Acte I: Habanera: L'amour est un oiseau rebelle
- Acte I: Scène: Carmen sur tes pas nous nous pressons tous
- Acte I: Dialogue: Michaëla ! Qu'est-ce que tu fais ici ?
- Acte I: Duo: Parle-moi de ma mère !
- Acte I: Dialogue: Mon enfant, je commence à me faire bien vieille"
- Acte I: Choeur: Au secours !... C'est la Carmencita !
- Acte I: Dialogue: Voyons Brigadier...
- Acte I: Chanson et mélodrame: Tra la la... Coupe-moi, brûle-moi, mais je te dirai rien
- Acte I: Dialogue : Ce ne sont pas des chansons que je te demande
- Acte I: Séguedille & Duo: Près des remparts de Séville
- Acte I: Dialogue: Prenez garde !
- Acte I: Final: Voici l'ordre, partez !
- Ouverture
- Sur la place
- Avec la garde montante
- C'est bien là, n'est-ce pas
- La cloche a sonné... Dans l'air, nous suivons des yeux de fumée
- Quand je vous aimerai?... L'amour est un oiseau rebelle
- Carmen, sur tes pas, nous nous pressons tous!
- Quels regards! Quelle effronterie!
- Parle-moi de ma mère!
- Reste là, maintenant, pendant que je lirai
- Au secours! Au secours!
- Mon officier, c'était une querelle
- Près des remparts de Séville
- Voici l'ordre; partez
- Overture
- Sur la place, chacun passe
- Regardez donc cette petite
- Avec la garde montante
- Une jeune fille chamrante
- C'est bien la, n'est pas
- La cloche a sonne (Chorus of Cigarette Girls)
- La voila, la viola
- L'amour est un oiseau rebelle (Habanera)
- Carmen! sur tes pas
- Quels regards! Quelle effronterie!
- Parle-moi de ma mere!
- Reste la maintenant, pendant que je lirai
- Que se passe-t-il donc la-bas?
- Mon officier, c'etait une querelle
- Tralalalala, coupe-moi, brule-moir
- Pres des remparts de Seville (Seguidilla)
- Voici l'ordre; partez
- Carmen Suite No. 1: Les toreadors
- Carmen Suite No. 1: Prélude
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Seguidille
- Carmen Suite No. 2: Marche des contrebandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Chanson du toreador
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohème
- L'Arlésienne Suite No. 1: I. Prélude
- L'Arlésienne Suite No. 1: II. Minuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: III. Menuet
- L'Arlésienne Suite No. 2: IV. Farandole
- Ouverture
- Scène et Choeur: Sur la place
- Choeur des Gamins : Avec la garde montante...
- Récit : C'est bien là, n'est-ce pas...
- Choeur des Cigarières : La cloche a sonné... Dans l'air, nous suivons des yeux la fumée
- Récit : Quand je vous aimerai ? Habanera: L'amour est un oiseau rebelle
- Scène : Carmen ! sur tes pas, nous nous pressons tous!
- Récit : Quels regards ! Quelle effronterie !
- Duo : Parle-moi de ma mère!
- Recit : Reste là, maintenant, pendant que je lirai
- Choeur : Que se passe-t-il donc là-bas ? Au secours ! Au secours !
- Chanson et Melodrame : Mon officier, c'etait une querelle...
- Séguedille et Duo : Près des ramparts de Seville
- Final : Voici l'ordre ; partez
- Entr'acte
- Chanson bohème : Les tringles des sistres tintaient...
- Récit : Messieurs, Pastia me dit...
- Choeur : Vivat ! Vivat le Torero !
- Couplets du Toreador : Votre toast, je peux vous le rendre
- Récit : La belle, un mot...
- Récit : Eh bien ! Vite, quelles nouvelles? Quintette: Nous avons en tête un affaire
- Prélude
- Acte I: Sur la place, chacun passe
- Acte I: Avec la garde montante
- Acte I: C'est bien là, n'est-ce pas... La cloche a sonné
- Acte I: Quand je vous aimeria?... L'amour est un oiseau rebelle
- Acte I: Carmen! Sur tes pas
- Acte I: Monsieur le brigadier?... Ma mere, je la vois
- Acte I: Attends un peu meintenant... Au secours!
- Acte I: Eh bien!... Vous avez entendu?... Tra la la la...
- Acte I: A la prison
- Acte I: C'est tres bien... Près des remparts de Séville (Seguedille)
- Acte I: Voici l'ordre (Finale)
- Acte I: Entr'acte
- Acte II: Les tringles des sistres tintaient
- Acte II: Vous avez quelque chose à nous dire
- Acte II: Vivat! Vivat le Toréro!
- Acte II: Votre toast, je peux vous le rendre (Chant du Toreador)
- Acte II: Messieurs les officiers
- Acte II: Eh bien! Vite, quelles nouvelles?
- Acte II: Nous avons en tête une affaire (Quintet)
Symphonie en Ut / Roma / Patrie (Orchestre du Capitole de Toulouse, feat. conductor: Michel Plasson, oboe: Jean-Michel Picard)
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- Symphonie en Ut majeur: 1. Allegro Vivace
- Symphonie en Ut majeur: 2. Adagio
- Symphonie en Ut majeur: 3. Scherzo: allegro vivace
- Symphonie en Ut majeur: 4. Finale: allegro vivace
- Roma, suite de concert No. 3: 1. Andante Tranquillo
- Roma, suite de concert No. 3: 2. Allegro vivace
- Roma, suite de concert No. 3: 3. Andante molto
- Roma, suite de concert No. 3: 4. Allegro vivacissimo
- Patrie, ouverture dramatique Op. 19
- Prelude (Carmen Suite #1)
- Intermezzo
- Seguedille
- Les Dragons d'Alcala
- Les Toréadors
- Marche des Contrebandiers (Carmen Suite #2)
- Habanera
- Nocturne
- Chanson du Toréador
- La Garde Montante
- Danse Bohème
- Peer Gynt Suite No. 1, Op. 46: I. Morning
- Peer Gynt Suite No. 1, Op. 46: II. The Death of Aase
- Peer Gynt Suite No. 1, Op. 46: III. Anitra's Dance
- Peer Gynt Suite No. 1, Op. 46: IV. In the Hall of the Mountain King
- Peer Gynt Suite No. 2, Op. 55: I. Ingrid's Lament
- Peer Gynt Suite No. 2, Op. 55: II. Arabian Dance
- Peer Gynt Suite No. 2, Op. 55: III. Peer Gynt's Home Coming
- Peer Gynt Suite No. 2, Op. 55: IV. Solveig's Song
- Carmen Suite No. 1: Prelude
- Carmen Suite No. 1: Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Seguidille
- Carmen Suite No. 1: The Soldiers of Alcala
- Carmen Suite No. 1: The Toreadors
- Carmen Suite No. 2: Marche of the Smugglers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Nocturne
- Carmen Suite No. 2: The Toreador Song
- Carmen Suite No. 2: Children's Chorus
- Carmen Suite No. 2: Bohemian Dance
- L'Arlésienne Suite No. 1: I. Overture
- L'Arlésienne Suite No. 1: II. Minuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- Carmen Suite No. 1: Prelude. Aragonaise
- Carmen Suite No. 1: Intermezzo
- Carmen Suite No. 1: Seguedilla
- Carmen Suite No. 1: Les dragons d'Alcala
- Carmen Suite No. 1: Les toreadors
- Carmen Suite No. 2: Marche des contrebandiers
- Carmen Suite No. 2: Habanera
- Carmen Suite No. 2: Chansons du toreador
- Carmen Suite No. 2: La garde montante
- Carmen Suite No. 2: Danse bohème
- L'Arlésienne Suite No. 1: I. Prélude
- L'Arlésienne Suite No. 1: II. Minuetto
- L'Arlésienne Suite No. 1: III. Adagietto
- L'Arlésienne Suite No. 1: IV. Carillon
- L'Arlésienne Suite No. 2: I. Pastorale
- L'Arlésienne Suite No. 2: II. Intermezzo
- L'Arlésienne Suite No. 2: III. Menuet
- L'Arlésienne Suite No. 2: IV. Farandole
Born: 1838-10-25
Died: 1875-06-03
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Carmen - Bizet
- Order: Reorder
- Duration: 6:04
- Published: 05 Jan 2008
- Updated: 06 Jul 2012
Julia Migenes: the definitive Carmen. www.puls.am
http://wn.com/Carmen_Bizet
Bizet - L'Arlesienne Suite No. 2: Farandole
- Order: Reorder
- Duration: 3:12
- Published: 26 Aug 2008
- Updated: 07 Jul 2012
Bizet - L'Arlesienne Suite No. 2: Farandole
http://wn.com/Bizet_L'Arlesienne_Suite_No_2_Farandole
Georges Bizet - "Les Toreadors" from Carmen Suite No. 1
- Order: Reorder
- Duration: 2:18
- Published: 03 Jan 2008
- Updated: 07 Jul 2012
Georges Bizet Carmen Suite No. 1 "Les Toreadors" London Festival Orchestra Alfred Scholz
http://wn.com/Georges_Bizet_Les_Toreadors_from_Carmen_Suite_No_1
Bizet: Habanera
- Order: Reorder
- Duration: 2:15
- Published: 14 Sep 2008
- Updated: 07 Jul 2012
Bizet: Habanera aus "Carmen" Budapest Philharmonic Orchestra
http://wn.com/Bizet_Habanera
Bizet - Carmen - Habanera
- Order: Reorder
- Duration: 3:41
- Published: 11 Nov 2009
- Updated: 07 Jul 2012
Carmen - Anna Caterina Antonacci; Don José - Jonas Kaufmann; Escamillo - Ildebrando D'Arcangelo; Micaela - Norah Amsellem; The Royal Opera Chorus; Chorus Director: Renato Balsadonna; The Orchestra of the Royal Opera House Covent Garden; Conductor: Antonio Pappano
http://wn.com/Bizet_Carmen_Habanera
Bizet - Je crois entendre encore - Alain Vanzo
- Order: Reorder
- Duration: 3:18
- Published: 29 Sep 2007
- Updated: 06 Jul 2012
Hi-res & stereo: www.youtube.com Bizet, Georges (1838-1875) Je crois entendre encore Romance, No. 4, Nadir's aria from Act I of the French opera, Les Pêcheurs de Perles Libretto : Michel Carré and Eugène Score here: www.schubertline.co.uk My favorite version of this aria.. Sung with Vanzo's delicate, beautifully light and sensitive style, IMHO, this recording is the best "Je crois entendre encore" of all time. Synopsis: In the past, Nadir had fallen in love with a beautiful Brahman priestess named Léïla at a Brahman temple. Now, a veiled priestess has come to his village and he recognizes her as Léïla. He sings of his love for her which has not been diminished by the time they have spent apart. Original text: Je crois entendre encore, Caché sous les palmiers, Sa voix tendre et sonore Comme un chant de ramier! O nuit enchanteresse! Divin ravissement! O souvenir charmant! Folle ivresse! doux rêve! Aux clartés des étoiles, Je crois encore la voir, Entr'ouvrir ses longs voiles Aux vents tièdes du soir! O nuit enchanteresse! Charmant souvenir! Translation: I think I'm still hearing Hidden under the palm trees Her tender and sound voice Like the song of a woodpigeon O enchanted night Divine rapture O charming souvenir Crazy intoxication! Sweet dream! In the clearness of the stars I think I'm still seeing her Opening her long veils To the warm winds of the evening O enchanted night Divine rapture O charming souvenir Crazy intoxication! Sweet dream!
http://wn.com/Bizet_Je_crois_entendre_encore_Alain_Vanzo
Bizet - Carmen - Overture
- Order: Reorder
- Duration: 3:32
- Published: 24 Apr 2009
- Updated: 06 Jul 2012
Angela GHEORGHIU - Habanera - Carmen - Bizet
- Order: Reorder
- Duration: 4:27
- Published: 06 May 2007
- Updated: 06 Jul 2012
Angela Gheorghiu sings the Habanera (L'amour est un oiseaux rebelle) from Bizet's opera 'Carmen' (Queen Beatrix of The Netherlands Silver Jubilee Concert in Amsterdam, April 29th, 2005)
http://wn.com/Angela_GHEORGHIU_Habanera_Carmen_Bizet
Georges Bizet Carmen PART 1 of 20 (Prelude + Sur la Place)
- Order: Reorder
- Duration: 10:01
- Published: 11 Apr 2009
- Updated: 07 Jul 2012
I have now completely uploaded my favourite opera! Georges Bizet's Carmen (4 Acts) (Part 1 of 20) (Prelude + Sur la Place) www.youtube.com (next part) Composer: Georges Bizet Libretto: Henri Meilhac and Ludovic Halévy CARMEN: Maria Ewing (Soprano) DON JOSE: Luis Lima (Tenor) ESCAMILLO: Gino Quilico (Baritone) MICAELA: Leontina Vaduva (Soprano) ZUNIGA: Roderick Earle (Bass-Baritone) MORALES: Christopher Booth-Jones (Baritone) FRASQUITA: Judith Howarth (Soprano) MERCEDES: Jean Rigby (Mezzo-Soprano) LILLAS PASTIA: Daniel Pageon (Spoken role) DANCAIRE: Burno Caproni (Bass-Baritone) REMENDADO: Francis Egerton (Tenor) Flamenco dancer: Juan Ortega Stage Director: Nuria Espert Conductor: Zubin Mehta Royal Philharmonic Orchestra Covent Garden 1991 Please comment/rate
http://wn.com/Georges_Bizet_Carmen_PART_1_of_20_Prelude_+_Sur_la_Place
CMC - Bizet - l'Arlésienne Suite No. I - 1. Prelude
- Order: Reorder
- Duration: 6:50
- Published: 15 Mar 2009
- Updated: 07 Jun 2012
Prelude from l'Arlésienne Suite No. I by George Bizet performed by University Orchestra of Nijmegen (December 17th, 2008, De Vereeniging, Nijmegen)
http://wn.com/CMC_Bizet_l'Arlésienne_Suite_No_I_1_Prelude
Georges Bizet: L'Arlésienne-Suite - Farandole
- Order: Reorder
- Duration: 4:30
- Published: 30 Jul 2009
- Updated: 06 Jul 2012
Georges Bizet: L`Arlesienne-Suite - Farandole Deutsch-Niederländische KammerPhilharmonie Otis Klöber, conductor / live-recorded on August 17, 2008 @ Johannes a Lasco Concerthall in Emden, Germany www.dnkp.org
http://wn.com/Georges_Bizet_L'Arlésienne-Suite_Farandole
Angela GHEORGHIU - Habanera - Carmen (Music Video)
- Order: Reorder
- Duration: 4:41
- Published: 02 May 2007
- Updated: 07 Jul 2012
Music Video: Romanian soprano Angela Gheorghiu sings the Habanera, from Bizet's opera 'Carmen' (2002) This video was filmed to promote the complete recording of the opera "Carmen" (EMI Classics) www.emiclassics.com
http://wn.com/Angela_GHEORGHIU_Habanera_Carmen_Music_Video
Carmen - Habanera
- Order: Reorder
- Duration: 4:39
- Published: 23 Jul 2007
- Updated: 03 Jul 2012
"L'amour est un oiseau rebelle" from the film of Carmen, shot in situ in Seville, mainly. Julia Migenes-Johnson does a bang up job as the wild Gypsy girl, and Placido Domingo is great as Don Jose.
http://wn.com/Carmen_Habanera
![Bizet - Carmen [Easy Piano Tutorial]](http://web.archive.org./web/20120707225735im_/http://i.ytimg.com/vi/uy_zF7EEtbY/0.jpg "Bizet - Carmen [Easy Piano Tutorial]")
Bizet - Carmen [Easy Piano Tutorial]
- Order: Reorder
- Duration: 3:04
- Published: 03 Mar 2010
- Updated: 07 Jul 2012
More tutorials: www.youtube.com Share this video on Facebook: on.fb.me Share this video on Twitter: bit.ly Piano tutorial for beginners: how to play George Bizet - Carmen. One of the most well-known French operas. This is a simplified version, adapted for beginners. Subscribe! www.youtube.com Twitter! www.twitter.com Facebook! www.facebook.com
http://wn.com/Bizet_Carmen_Easy_Piano_Tutorial_
Bizet, Habanera (from Carmen), James Edwards, guitar
- Order: Reorder
- Duration: 4:15
- Published: 31 Oct 2009
- Updated: 07 Jul 2012
The Habanera from George Bizet's opera Carmen, arranged for guitar and performed by James Edwards,accompanied by a scrolling bar-graph score. FAQ Q: Where can I get the sheet music for this piece? A: This arrangement and others are available in this publication: www.melbay.com Q: Who is playing this piece? A: James Edwards; here's a link to his web site: jamesedwardsguitar.com Q: Where can I hear more of James Edwards' playing? A: This recording is from his album "Guitar Arias: Operatic Melodies for Solo Guitar"; it and many of his other recordings can be purchased here: jamesedwardsguitar.com Q: Is there a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: www.musanim.com There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: www.classicalarchives.com Q: Could you please do a MAM video of ______? A: First, check my "to do" list: www.musanim.com ... If the piece isn't listed, read the "Could you please do a MAM video of ______?" item on my main FAQ: www.musanim.com ... and if you think I'd consider doing it, email me (stephen at musanim dot com). .
http://wn.com/Bizet,_Habanera_from_Carmen,_James_Edwards,_guitar
"Prelude" from Carmen by Georges Bizet
- Order: Reorder
- Duration: 3:33
- Published: 25 Dec 2008
- Updated: 05 Jul 2012
There are three sections to this Prelude (overture): 1. The bull-fighting theme (section A) 2. Swaggering Toreador song (section B) 3. Motive of Fate (section C) The structure of the piece is ABAC. The motive of fate represents the fate of Carmen at the end of the opera. London Symphony Orchestra Claudio Abbado
http://wn.com/Prelude_from_Carmen_by_Georges_Bizet
![Bizet [Carmen] Act.1 (1) Overture-Myung-Whun Chung, Orange Festival](http://web.archive.org./web/20120707225735im_/http://i.ytimg.com/vi/FsGWwDk8PAw/0.jpg "Bizet [Carmen] Act.1 (1) Overture-Myung-Whun Chung, Orange Festival")
Bizet [Carmen] Act.1 (1) Overture-Myung-Whun Chung, Orange Festival
- Order: Reorder
- Duration: 3:58
- Published: 06 Nov 2009
- Updated: 04 Jul 2012
G. Bizet [Carmen] Act.1 (1) Overture == Orchestre Philharmonique de Radio France conducted by MYUNG-WHUN CHUNG == 2005 Orange Festival (les Chorégies d'Orange 2005)
http://wn.com/Bizet_Carmen_Act1_1_Overture-Myung-Whun_Chung,_Orange_Festival
Carmen (Bizet) The Royal Opera
- Order: Reorder
- Duration: 1:10
- Published: 05 Dec 2007
- Updated: 04 Jul 2012
Discover more: www.roh.org.uk The Spanish heat and gypsy passion of Carmen take to the stage as The Royal Opera presents the first revival of Francesca Zambello's vibrant production with Tanya McCallin's richly coloured designs. It's a great stage recreation of the sun-drenched and sultry world of 19th-century Spain, with its ranks of soldiers and crowds of peasants, its gypsies and bullfighters, its spectacle and its deadly, white-hot emotions. Star tenor Marcelo Álvarez is Don José, the soldier she forces to murderous jealousy over her new affair with the bullfighter Escamillo, played by Kyle Ketelsen. It's a perfect cast to bring alive the sexy solos, rousing choruses, impassioned arias and Spanish dances of one of the most famously tuneful of all operas and one of the most enduringly popular works in the entire repertory. A Royal Opera House production
http://wn.com/Carmen_Bizet_The_Royal_Opera
George Bizet: Carmen Suite #1 - Aragonaise
- Order: Reorder
- Duration: 2:15
- Published: 08 Aug 2010
- Updated: 03 Jul 2012
George Bizet: Carmen Suite #1 - Aragonaise It is the first of 10 parts to the famous opera by George Bizet - Carmen.
http://wn.com/George_Bizet_Carmen_Suite_1_Aragonaise
Glenn Gould plays Georges Bizet Nocturne in D major
- Order: Reorder
- Duration: 4:40
- Published: 16 Apr 2009
- Updated: 29 Jun 2012
Georges Bizet (1838-1875) Premier Nocturne in D major Piano: Glenn Gould (1932-1982)
http://wn.com/Glenn_Gould_plays_Georges_Bizet_Nocturne_in_D_major
Bizet - Carmen (von Karajan).
- Order: Reorder
- Duration: 162:44
- Published: 08 Nov 2011
- Updated: 06 Jul 2012
Bizet Menuet from L'Arlésienne (Dominique Kim)
- Order: Reorder
- Duration: 4:06
- Published: 11 May 2008
- Updated: 06 Jul 2012
Flute-Piano duet: Dominique Kim (12) -- flute, Valerie Kim (10) -- piano 2008 03 01
http://wn.com/Bizet_Menuet_from_L'Arlésienne_Dominique_Kim
Bizet / Herbert von Karajan, 1958: L'Arlesienne Suite No. 1 - Prelude (1)
- Order: Reorder
- Duration: 6:50
- Published: 06 Sep 2010
- Updated: 02 Jul 2012
So that there is no question in the mind of the listener, I rely principally on images of the LP label (2:58) and LP jacket (4:04) in order to document the authenticity of historically important recordings such as these. Herbert von Karajan (1908-1989) leads the Philharmonia Orchestra in this 1958 recording of the Prelude to L'Arlesienne Suite No. 1. I created this video from the LP depicted above, issued in 1958 on the Angel label, serial number S. 35618. With the exception of the Billboard magazine advertisement promoting this recording, all images in this video are taken from the LP label and LP jacket, front and reverse. Movement 1: Prélude, Allegro deciso More from this LP: L'Arlesienne Suite No. 1 - Minuet, Allegro giocoso (2): www.youtube.com L'Arlesienne Suite No. 1 - Adagietto (3): www.youtube.com L'Arlesienne Suite No. 1 - Carillon (4): www.youtube.com L'Arlesienne Suite No. 2 - Pastorale: www.youtube.com Carmen, Suite No. 1 - Prelude, Act : www.youtube.com -------------------------------------------------- Bizet / Walter and Beatrice Klien, 1964: Le Bal ("Galop"), from Jeux D'Enfants - www.youtube.com -------------------------------------------------- More early recordings from von Karajan: Mozart / Herbert von Karajan, VPO, 1958: Symphony No. 40 in G Minor, K. 550 - Movement 1 - www.youtube.com Bizet / Herbert von Karajan, 1958: L'Arlesienne Suite No. 1 - Prelude (1) - www.youtube.com Bizet / Herbert von Karajan, 1958: Carmen, Suite No. 1 - Prelude, Act 1 <b>...</b>
http://wn.com/Bizet_Herbert_von_Karajan,_1958_L'Arlesienne_Suite_No_1_Prelude_1
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"Bizet" redirects here. For other uses, see Bizet (disambiguation).
Georges Bizet (French pronunciation: [ʒɔʁʒ bizɛ]) formally Alexandre César Léopold Bizet, (25 October 1838 – 3 June 1875) was a French composer, mainly of operas. In a career cut short by his early death, he achieved few successes before his final work, Carmen, became one of the most popular and frequently performed works in the entire opera repertory.
During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of the two operas that reached the stage—Les pêcheurs de perles and La jolie fille de Perth—was immediately successful.
After the Franco-Prussian War of 1870–71, in which Bizet served in the National Guard, he had little success with his one-act opera Djamileh, though an orchestral suite derived from his incidental music to Alphonse Daudet's play L'Arlésienne was instantly popular. The production of Bizet's final opera Carmen was delayed through fears that its themes of betrayal and murder would offend audiences. After its premiere on 3 March 1875, Bizet was convinced that the work was a failure; he died of a heart attack three months later, unaware that it would prove a spectacular and enduring success.
Bizet's marriage to Geneviève Halévy was intermittently happy and produced one son. After his death, his work, apart from Carmen, was generally neglected. Manuscripts were given away or lost, and published versions of his works were frequently revised and adapted by other hands. He founded no school and had no obvious disciples or successors. After years of neglect, his works began to be performed more frequently in the 20th century. Later commentators have acclaimed him as a composer of brilliance and originality whose premature death was a significant loss to French musical theatre.
Contents |
Life[link]
Early years[link]
Family background and childhood[link]
Georges Bizet was born in Paris on 25 October 1838. He was registered as Alexandre César Léopold, but baptised as "Georges" on 16 March 1840, and was known by this name for the rest of his life. His father, Adolphe Bizet, had been a hairdresser and wigmaker before becoming a singing teacher despite his lack of formal training.[1] He also composed a few works, including at least one published song.[2] In 1837 Adolphe married Aimée Delsarte, against the wishes of her family who considered him a poor prospect; the Delsartes, though impoverished, were a cultured and highly musical family.[3] Aimée was an accomplished pianist, while her brother François Delsarte was a distinguished singer and teacher who performed at the courts of both Louis Philippe and Napoleon III.[4] François Delsarte's wife Rosine, a musical prodigy, had been an assistant professor of solfège at the Conservatoire de Paris at the age of 13.[5]
Georges, an only child,[3] showed early aptitude for music and quickly picked up the basics of musical notation from his mother, who probably gave him his first piano lessons.[2] By listening at the door of the room where Adolphe conducted his classes, Georges learned to sing difficult songs accurately from memory, and developed an ability to identify and analyse complex chordal structures. This precocity convinced his ambitious parents that he was ready to begin studying at the Conservatoire, even though he was still only nine years old (the minimum entry age was 10). Georges was interviewed by Joseph Meifred, the horn virtuoso who was a member of the Conservatoire's Committee of Studies. Meifred was so struck by the boy's demonstration of his skills that he waived the age rule and offered to take him as soon as a place became available.[3][6]
Conservatoire[link]
Bizet was admitted to the Conservatoire on 9 October 1848, two weeks before his 10th birthday.[3] He made an early impression; within six months he had won first prize in solfège, a feat that impressed Pierre-Joseph-Guillaume Zimmermann, the Conservatoire's former professor of piano. Zimmermann gave Bizet private lessons in counterpoint and fugue, which continued until the old man's death in 1853.[7] Through these classes Bizet met Zimmermann's son-in-law, the composer Charles Gounod, who became a lasting influence on the young pupil's musical style—although their relationship was often strained in later years.[8] Under the tuition of Antoine François Marmontel, the Conservatoire's professor of piano, Bizet's pianism developed rapidly; he won the Conservatoire's second prize for piano in 1851, and first prize the following year. Bizet would later write to Marmontel: "In your class one learns something besides the piano; one becomes a musician".[9]
File:Aged Charles Gounod.jpg
Charles Gounod, depicted here in later life, was a mentor and inspiration to Bizet in the latter's Conservatoire years.
Bizet's first preserved compositions, two wordless songs for soprano, date from around 1850. In 1853 he joined Fromental Halévy's composition class, and began to produce works of increasing sophistication and quality.[10] Two of his songs, "Petite Marguerite" and "La Rose et l'abeille", were published in 1854.[11] In 1855 he wrote an ambitious overture for a large orchestra,[12] and prepared four-hand piano versions of two of Gounod's works: the opera La nonne sanglante and the Symphony in D. Bizet's work on the Gounod symphony inspired him, shortly after his seventeenth birthday, to write his own symphony, which bore a close resemblance to Gounod's—note for note in some passages. Bizet's symphony was subsequently lost, rediscovered in 1933 and finally performed in 1935.[13]
In 1856 Bizet competed for the prestigious Prix de Rome. His entry was not successful, but nor were any of the others; the musician's prize was not awarded that year.[14] After this rebuff Bizet entered an opera competition which Jacques Offenbach had organised for young composers, with a prize of 1,200 francs. The challenge was to set the one-act libretto of Le docteur Miracle by Léon Battu and Ludovic Halévy. The prize was awarded jointly to Bizet and Charles Lecocq,[15] a compromise which years later Lecocq criticised on the grounds of the jury's manipulation by Fromental Halévy in favour of Bizet.[n 1] As a result of his success Bizet became a regular guest at Offenbach's Friday evening parties, where among other musicians he met the aged Gioachino Rossini, who presented the young man with a signed photograph.[17][n 2] Bizet was a great admirer of Rossini's music, and wrote not long after their first meeting that "Rossini is the greatest of them all, because like Mozart, he has all the virtues".[19]
For his 1857 Prix de Rome entry Bizet, with Gounod's enthusiastic approval, chose to set the cantata Clovis et Clotilde by Amédée Burion. Bizet was awarded the prize after a ballot of the members of the Académie des Beaux-Arts overturned the judges' initial decision, which was in favour of the oboist Charles Colin. Under the terms of the award, Bizet received a financial grant for five years, the first two to be spent in Rome, the third in Germany and the final two in Paris. The only other requirement was the submission each year of an "envoi", a piece of original work to the satisfaction of the Académie. Before his departure for Rome in December 1857, Bizet's prize cantata was performed at the Académie to an enthusiastic reception.[17][20]
Rome, 1858–60[link]
On 27 January 1858 Bizet arrived at the Villa Medici, a 16th-century palace that since 1803 had housed the French Académie in Rome and which he described in a letter home as "paradise".[21] Under its director, the painter Jean-Victor Schnetz, the villa provided an ideal environment in which Bizet and his fellow-laureates could pursue their artistic endeavours. Bizet relished the convivial atmosphere, and quickly involved himself in the distractions of its social life; in his first six months in Rome his only composition was a Te Deum written for the Rodrigues Prize, a competition for a new religious work open to Prix de Rome winners. This piece failed to impress the judges, who awarded the prize to Adrien Barthe, the only other entrant.[22] Bizet was discouraged to the extent that he vowed to write no more religious music. His Te Deum remained forgotten and unpublished until 1971.[23]
Through the winter of 1858–59 Bizet worked on his first envoi, an opera buffa setting of Carlo Cambiaggio's libretto Don Procopio. Under the terms of his prize, Bizet's first envoi was supposed to be a mass, but following his Te Deum experience he was averse to writing religious music. He was apprehensive about how this breach of the rules would be received at the Académie, but their response to Don Procopio was initially positive, with praise for the composer's "easy and brilliant touch" and "youthful and bold style."[7][24]
For his second envoi, not wishing to test the Académie's tolerance too far, Bizet proposed to submit a quasi-religious work in the form of a secular mass on a text by Horace. This work, entitled Carmen Saeculare, was intended as a song to Apollo and Diana. No trace exists, and it is unlikely that Bizet ever started it.[25] A tendency to conceive ambitious projects, only to quickly abandon them, became a feature of Bizet's Rome years; in addition to Carmen Saeculare he considered and discarded at least five opera projects, two attempts at a symphony, and a symphonic ode on the theme of Ulysses and Circe.[26] After Don Procopio Bizet completed only one further work in Rome, the symphonic poem Vasco da Gama. This replaced Carmen Saeculare as his second envoi, and was well received by the Académie, though swiftly forgotten thereafter.[27]
In the summer of 1859 Bizet and several companions travelled in the mountains and forests around Anagni and Frosinone. They also visited a convict settlement at Anzio; Bizet sent an enthusiastic letter to Marmontel, recounting his experiences.[28] In August he made an extended journey south to Naples and Pompeii, where he was unimpressed with the former but delighted with the latter: "Here you live with the ancients; you see their temples, their theatres, their houses in which you find their furniture, their kitchen utensils..."[29] Bizet began sketching a symphony based on his Italian experiences, but made little immediate headway; the project, which became his Roma symphony, was not finished until 1868.[7] On his return to Rome Bizet successfully requested permission to extend his stay in Italy into a third year, rather than going to Germany, so that he could complete "an important work" (which has not been identified).[30] In September 1860, while visiting Venice with his friend and fellow-laureate Ernest Guiraud, Bizet received news that his mother was gravely ill in Paris, and made his way home.[31]
Emergent composer[link]
Paris 1860–63[link]
Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially, and could ignore for the moment the difficulties that other young composers faced in the city.[32] The two state-subsidised opera houses, the Opéra and the Opéra-Comique,[n 3] each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra.[35] Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s.[35] A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount,[33] while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho.[35] This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.[33][36]
On 13 March 1861 Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris.[37] Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers".[27] Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.[38] As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice".[39] In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant".[40]
Bizet's third envoi was delayed for nearly a year by the prolonged illness and eventual death, in September 1861, of his mother.[32] He eventually submitted a trio of orchestral works: an overture entitled La Chasse d'Ossian, a scherzo and a funeral march. The overture has been lost; the scherzo was later absorbed into the Roma symphony, and the funeral march music was adapted and used in Les pêcheurs de perles.[7][41] In 1862 Bizet fathered a child with the family's housekeeper, Marie Reiter. The boy was brought up to believe that he was Adolphe Bizet's child; only on her deathbed in 1913 did Reiter reveal her son's true paternity.[42]
Bizet's fourth and final envoi, which occupied him for much of 1862, was a one-act opera, La guzla de l'émir. As a state-subsidised theatre, the Opéra-Comique was obliged from time to time to stage the works of Prix de Rome laureates, and La guzla duly went into rehearsal in 1863. However, in April Bizet received an offer, which originated from Count Walewski, to write a three-act opera, Les pêcheurs de perles, using a libretto by Michel Carré and Eugène Cormon. Because a condition of the offer was that the opera should be the composer's first publicly staged work, Bizet hurriedly withdrew La guzla from production and incorporated parts of its music into the new opera.[41] The first performance of Les pêcheurs de perles, by the Théâtre Lyrique company, was on 30 September. Critical opinion was generally hostile, though Berlioz praised the work, writing that it did "does M. Bizet the greatest honour".[43] Public reaction was lukewarm, and the opera's run ended after 18 performances. It was not performed again until 1886.[44]
Years of struggle[link]
When his Prix de Rome grant expired, Bizet soon found he could not make a living from writing music. He accepted piano pupils and some composition students, two of whom, Edmond Galabert and Paul Lacombe, became his close friends.[7] He also worked as an accompanist at rehearsals and auditions for various staged works, including Berlioz's oratorio L'enfance du Christ and Gounod's opera Mireille.[45] However, his main work in this period was as an arranger of others' works. He made piano transcriptions for hundreds of operas and other pieces, and prepared vocal scores and orchestral arrangements for all kinds of music.[7][46] He was also, briefly, a music critic for La Revue Nationale et Étrangère, under the assumed name of "Gaston de Betzi". Bizet's single contribution in this capacity appeared on 3 August 1867, after which he quarrelled with the magazine's new editor and resigned.[47]
Since 1862 Bizet had been working intermittently on Ivan IV, an opera based on the life of Ivan the Terrible. Carvalho failed to deliver on his promise to produce it, so in December 1865 Bizet offered it to the Opéra, which rejected it; the work remained unperformed until 1946.[44][48] In July 1866 Bizet signed another contract with Carvalho, for La jolie fille de Perth, the libretto for which, by J.H. Vernoy de Saint-Georges after Sir Walter Scott, is described by Bizet's biographer Winton Dean as "the worst Bizet was ever called upon to set".[49] Problems over the casting and other issues delayed its premiere for a year before it was finally performed by the Théâtre Lyrique on 26 December 1867.[44] Its press reception was more favourable than that for any of Bizet's other operas; Le Ménestral's critic hailed the second act as "a masterpiece from beginning to end".[50] Despite the opera's success, Carvalho's financial difficulties meant a run of only 18 performances.[44]
While La jolie fille was in rehearsal, Bizet worked with three other composers, each of whom contributed a single act to a four-act operetta Marlborough s'en va-t-en guerre. When the work was performed at the Théâtre de l'Athénée on 13 December 1867 it was a great success, and the Revue et Gazette Musicale's critic lavished particular praise on Bizet's act: "Nothing could be more stylish, smarter and, at the same time, more distinguished".[51] Bizet also found time to finish his long-gestating Roma symphony, and wrote numerous keyboard works and songs. Nevertheless, this period of Bizet's life was marked by significant disappointments. At least two projected operas were abandoned with little or no work done.[n 4] Several competition entries, including a cantata and a hymn composed for the Paris Exhibition of 1867 were unsuccessful.[53] La Coupe du Roi de Thulé, his entry for an opera competition, was not placed in the first five; from the fragments of this score that survive, analysts have discerned pre-echoes of Carmen.[54][55] On 28 February 1869 the Roma symphony was performed at the Cirque Napoléon, under Jules Pasdeloup. Afterwards Bizet informed Galabert that on the basis of proportionate applause, hisses and catcalls, the work was a success.[56][n 5]
Marriage[link]
.jpg)
Not long after Fromental Halévy's death in 1862, Bizet had been approached on behalf of Mme. Halévy about completing his old tutor's unfinished opera Noé.[58] Although no action was taken at that time, Bizet remained on friendly terms with the Halévy family. Fromental had left two daughters; the elder, Esther, died in 1864, an event which so traumatised Mme. Halévy that she could not tolerate the company of her younger daughter Geneviève, who from the age of 15 lived with other family members.[59] It is unclear when she and Bizet became emotionally attached, but in October 1867 he informed Galabert: "I have met an adorable girl whom I love! In two years she will be my wife!".[60] The pair became engaged, although the Halévy family initially disallowed the match. According to Bizet they considered him an unsuitable catch: "penniless, left-wing, anti-religious and Bohemian",[61] which Dean observes are odd grounds of objection from "a family bristling with artists and eccentrics".[62] By summer 1869 their objections had been overcome, and the wedding took place on 3 June 1869. Ludovic Halévy wrote in his journal: "Bizet has spirit and talent. He should succeed".[63]
As a belated homage to his late father-in-law, Bizet took up the Noé manuscript and completed it. Parts of his moribund Vasco da Gama and Ivan IV were incorporated into the score, but a projected production at the Théâtre Lyrique failed to materialise when Carvalho's company finally went bankrupt, and Noé remained unperformed until 1885.[7][58] Bizet's marriage was initially happy, but was affected by Geneviève's nervous instability (inherited from both her parents),[64] her difficult relations with her mother and by Mme. Halévy's interference in the couple's affairs.[55] Despite this, Bizet kept on good terms with his mother-in-law and maintained an extensive correspondence with her.[65] In the year following the marriage he considered plans for at least half a dozen new operas, and began to sketch the music for two of them: Clarissa Harlowe based on Samuel Richardson's novel Clarissa, and Grisélidis with a libretto from Victorien Sardou.[66] However, his progress on these projects was brought to a halt in July 1870, with the outbreak of the Franco-Prussian War.[67]
War and upheaval[link]
After a series of perceived provocations from Prussia, culminating in the offer of the Spanish crown to the Prussian Prince Leopold of Hohenzollern, the French emperor Napoleon III declared war on 15 July 1870. Initially this step was supported by an outbreak of patriotic fervour and confident expectations of victory.[7][68] Bizet, along with other composers and artists, joined the National Guard and began training.[69] He was critical of the antiquated equipment with which he was supposed to fight; his unit's guns, he said, were more dangerous to themselves than to the enemy.[65] The national mood was soon depressed by news of successive reverses; at Sedan on 2 September the French armies suffered an overwhelming defeat; Napoleon was captured and deposed, and the Second Empire came to a sudden end.[69]
Bizet greeted with enthusiasm the proclamation in Paris of the Third Republic.[69] The new government did not sue for peace, and by 17 September the Prussian armies had surrounded Paris.[70] Unlike Gounod, who fled to England,[71] Bizet rejected opportunities to leave the besieged city: "I can't leave Paris! It's impossible! It would be quite simply an act of cowardice", he wrote to Mme Halévy.[65] Life in the city became frugal and harsh,[n 6] although by October there were efforts to re-establish normality. Pasdeloup resumed his regular Sunday concerts, and on 5 November the Opéra reopened with excerpts from works by Gluck, Rossini and Meyerbeer.[70][73]
An armistice was signed on 26 January 1871, but the departure of the Prussian troops from Paris in March presaged a period of confusion and civil disturbance. Following an uprising, the city's municipal authority was taken over by dissidents who established the Paris Commune.[74] Bizet decided that he was no longer safe in the city, and he and Geneviève escaped to Compiègne.[65] Later they moved to Le Vésinet where they sat out the two months of the Commune, within hearing distance of the gunfire that resounded as government troops gradually crushed the uprising: "The cannons are rumbling with unbelievable violence", Bizet wrote to his mother-in-law on 12 May.[65][75] By 25 May hostilities had ended; it was later estimated that during the Commune and in the reprisals which followed, around 25,000 lives had been lost.[76]
Late career[link]
[edit] Djamileh, L'Arlésienne and Don Rodrigue
As life in Paris returned to normal, in June 1871 Bizet's appointment as chorus-master at The Opéra was seemingly confirmed by its director, Émile Perrin. Bizet was due to begin his duties in October, but on 1 November the post was assumed by Hector Salomon. In her biography of Bizet, Mina Curtiss surmises that he either resigned or refused to take up the position as a protest against what he thought was the director's unjustified closing of Ernest Reyer's opera Erostrate after only two performances.[77] Bizet resumed work on Clarissa Harlowe and Grisélidis, but plans for the latter to be staged at the Opéra-Comique fell through, and neither work was finished; only fragments of their music survive.[78] Bizet's other completed works in 1871 were the piano duet entitled Jeux d'enfants, and a one-act opera, Djamileh, which opened at the Opéra-Comique in May 1872. It was poorly staged and incompetently sung; at one point the leading singer missed 32 bars of music. It closed after 11 performances, not to be heard again until 1938.[79] On 10 July Geneviève gave birth to the couple's only child, a son, Jacques.[80]
Bizet's next major assignment came from Carvalho, now managing Paris's Vaudeville theatre, who wanted incidental music for Alphonse Daudet's play L'Arlésienne. When the play opened on 1 October the music was dismissed by critics as too complex for popular taste. However, encouraged by Reyer and Massenet, Bizet fashioned a four-movement suite from the music,[81] which was performed under Pasdeloup on 10 November to an enthusiastic reception.[7][n 7] In the winter of 1872–73, Bizet supervised preparations for a revival of the still-absent Gounod's Roméo et Juliette at the Opéra-Comique. Relations between the two had been cool for some years, but Bizet responded positively to his former mentor's request for help, writing: "You were the beginning of my life as an artist. I spring from you".[83]
In June 1872 Bizet informed Galabert: "I have just been ordered to compose three acts for the Opéra-Comique. [Henri] Meilhac and [Ludovic] Halévy are doing my piece".[84] The subject chosen for this project was Prosper Mérimée's short novel Carmen. Bizet began the music in the summer of 1873, but the Opéra-Comique's management was concerned about the suitability of this risqué story for a theatre that generally provided wholesome entertainment, and work was suspended.[7][85] Bizet then began composing Don Rodrigue, an adaptation of the El Cid story by Louis Gallet and Édouard Blau. He played a piano version to a select audience that included the Opéra's principal baritone Jean-Baptiste Faure, hoping that the singer's approval might influence the directors of the Opéra to stage the work.[86] However, on the night of 28–29 October, the Opéra burned to the ground; the directors, amid other pressing concerns, set Don Rodrigue aside.[87] It was never completed; Bizet later adapted a theme from its final act as the basis of his 1875 overture, Patrie.[7]
[edit] Carmen
File:VariousCarmens.jpg
Various singers depicted in the role of Carmen. Galli-Marie is second from left, middle group
Adolphe de Leuven, the co-director of the Opéra-Comique most bitterly opposed to the Carmen project, resigned early in 1874, removing the main barrier to the work's production.[7] Bizet finished the score during the summer, and was pleased with the outcome: "I have written a work that is all clarity and vivacity, full of colour and melody".[88] The renowned mezzo-soprano Célestine Galli-Marié (known professionally as "Galli-Marié"), was engaged to sing the title role. According to Dean she was as delighted by the part as Bizet was by her suitability for it. There were rumours that he and the singer pursued a brief affair; his relations with Geneviève were strained at this time, and they lived apart for several months.[89]
When rehearsals began in October 1874 the orchestra had difficulties with the score, finding some parts unplayable.[90] The chorus likewise declared some of their music impossible to sing, and were dismayed by having to act as individuals, smoking and fighting onstage rather than merely standing in line.[91] Bizet also had to counter further attempts at the Opéra-Comique to modify parts of the action which they deemed improper. Only when the leading singers threatened to withdraw from the production did the management give way.[92][93] Resolving these issues delayed the first night until 3 March 1875 on which morning, by chance, Bizet's appointment as a Chevalier of the Legion of Honour was announced.[94]
Among leading musical figures at the premiere were Jules Massenet, Camille Saint-Saëns and Charles Gounod. Geneviève, suffering from an abscess in her right eye, was unable to be present.[94] The opera's first performance extended to four-and-a-half hours; the final act did not begin until after midnight.[95] Afterwards, Massenet and Saint-Saëns were congratulatory, Gounod less so. According to one account he accused Bizet of plagiarism: "Georges has robbed me! Take the Spanish airs and mine out of the score and there remains nothing to Bizet's credit but the sauce that masks the fish".[96][n 8] Much of the press comment was negative, expressing consternation that the heroine was an amoral seductress rather than a woman of virtue.[95] Galli-Marié's performance was described by one critic as "the very incarnation of vice".[99] Others complained of a lack of melody, and made unfavourable comparisons with the traditional Opéra-Comique fare of Auber and Boieldieu. Léon Escudier in L'Art Musical called the music "dull and obscure ... the ear grows weary of waiting for the cadence that never comes".[100] There was, however, praise from the poet Théodore de Banville, who applauded Bizet for presenting a drama with real men and women instead of the usual Opéra-Comique "puppets".[101] The public's reaction was lukewarm, and Bizet soon became convinced of its failure: "I foresee a definite and hopeless flop".[102]
Illness and death[link]
For most of his life Bizet had suffered from a recurrent throat complaint.[103] A heavy smoker, he may have further undermined his health by overwork during the mid-1860s, when he toiled over publishers' transcriptions for up to 16 hours a day.[104] In 1868 he informed Galabert that he had been very ill with abscesses in the windpipe: "I suffered like a dog".[105] In 1871, and again in 1874 while completing Carmen, he had been disabled by severe bouts of what he described as "throat angina", and suffered a further attack in late March 1875.[106][107] At that time, depressed by the evident failure of Carmen, Bizet was slow to recover and fell ill again in May. At the end of the month he went to his holiday home at Bougival and, feeling a little better, went for a swim in the Seine. On the next day, 1 June, he was afflicted by high fever and pain, which was followed by an apparent heart attack. He seemed temporarily to recover, but in the early hours of 3 June, his wedding anniversary, he suffered a fatal second attack.[108]
The suddenness of Bizet's death, and awareness of his depressed mental state, fuelled rumours of suicide. Although the exact cause of death was never settled with certainty, physicians discounted such theories and eventually determined the cause as "a cardiac complication of acute articular rheumatism".[n 9] News of the death stunned Paris's musical world; as Galli-Marié was too upset to appear, that evening's performance of Carmen was cancelled and replaced with Boieldieu's La dame blanche.[108]
At the funeral on 5 June at the Église de la Sainte-Trinité in Monmartre, more than 4,000 people were present. Adolphe Bizet led the mourners, who included Gounod, Thomas, Ludovic Halévy, Léon Halévy and Massenet. An orchestra under Pasdeloup played Patrie, and the organist improvised a fantasy on themes from Carmen. At the burial which followed at the Père Lachaise Cemetery, Gounod gave the eulogy. He said that Bizet had been struck down just as he was becoming recognised as a true artist. Towards the end of his address Gounod broke down, and was unable to deliver his final peroration.[110] After a special performance of Carmen at the Opéra-Comique that night, the press which had almost universally condemned the piece three months earlier now declared Bizet a master.[111]
Music[link]
Further information: List of compositions by Georges Bizet
Early works[link]
Bizet's earliest compositions, chiefly songs and keyboard pieces written as exercises, give early indications of his emergent power and his gifts as a melodist.[7] Dean sees evidence in the piano work Romance sans parole, written before 1854, of "the conjunction of melody, rhythm and accompaniment" that is characteristic of Bizet's mature works.[112] Bizet's first orchestral piece was an overture written in 1855 in the manner of Rossini's Guillaume Tell. Critics have found it unremarkable, but the Symphony in C of the same year has been warmly praised by later commentators who have made favourable comparisons with Mozart and Schubert.[7] In Dean's view the symphony has "few rivals and perhaps no superior in the work of any composer of such youth".[113] The critic Ernest Newman suggests that Bizet may at this time thought that his future lay in the field of instrumental music, before an "inner voice" (and the realities of the French musical world) turned him towards the stage.[114]
Orchestral, piano and vocal works[link]
After his early Symphony in C, Bizet's purely orchestral output is sparse. The Roma symphony over which he laboured for more than eight years compares poorly, in Dean's view, with its juvenile predecessor. The work, says Dean, owes something to Gounod, and contains passages that recall Weber and Mendelssohn. However, Dean contends that the work suffers from poor organisation and an excess of pretentious music; he calls it a "misfire". Bizet's other mature orchestral work, the overture Patrie, is similarly dismissed: "an awful warning of the danger of confusing art with patriotism".[115] The musicologist Hugh Macdonald argues that Bizet's best orchestral music is found in the suites that he derived respectively from the piano work Jeux d'enfants and the incidental music for L'Arlésienne. In these he demonstrates a maturity of style that, had he lived longer, might have been the basis for future great orchestral works.[7]
Bizet's piano works have not entered the concert pianist's repertoire, and are generally too difficult for amateurs to attempt. An exception is the set of 12 pieces evoking the world of children's games, Jeux d'enfants, written for four hands. Here, Bizet avoided the virtuoso passages which tend to dominate his solo works.[7] The earlier solo pieces bear the influence of Chopin; later works, such as the Variations Chromatiques and the Chasse Fantastique, owe more to Liszt.[116] Most of Bizet's songs were written in the period 1866–68. Dean defines the main weaknesses in these songs as an unimaginative repetition of the same music for each verse, and a tendency to write for the orchestra rather than the voice.[117] Much of Bizet's larger-scale vocal music is lost; the early Te Deum, which survives in full, is rejected by Dean as "a wretched work [that] merely illustrates Bizet's unfitness to write religious music."[118]
Dramatic works[link]
Bizet's early one-act opera Le docteur Miracle provides the first clear signs of his promise in this genre, its sparkling music including, according to Dean, "many happy touches of parody, scoring and comic characterisation".[113] Newman perceives evidence of Bizet's later achievements in many of his earliest works: "[A]gain and again we light upon some touch or other in them that only a musician with a dramatic root of the matter in him could have achieved."[119] Until Carmen, however, Bizet was not essentially an innovator in the musical theatre. He wrote most of his operas in the traditions of Italian and French opera established by such as Donizetti, Rossini, Berlioz, Gounod and Thomas. Macdonald suggests that, technically, he surpassed all of these, with a feeling for the human voice that compares with that of Mozart.[7]
In Don Procopio Bizet followed the stock devices of Italian opera as typified by Donizetti in Don Pasquale, a work which it closely resembles. However, the familiar idiom is interspersed with original touches in which Bizet's fingerprints emerge unmistakably.[7][120] In his first significant opera, Les pêcheurs de perles, Bizet was hampered by a dull libretto and a laborious plot; nevertheless, the music in Dean's view rises at times "far above the level of contemporary French opera".[41] Its many original flourishes include the introduction to the cavatina Comme autrefois dans la nuit sombre played by two French horns over a cello background, an effect which in the words of analyst Hervé Lacombe, "resonates in the memory like a fanfare lost in a distant forest".[121] While the music of Les pêcheurs is atmospheric and deeply evocative of the opera's Eastern setting, in La jolie fille de Perth Bizet made no attempt to introduce Scottish colour or mood,[7] though the scoring includes highly imaginative touches such as a separate band of woodwind and strings during the opera's Act III seduction scene.[122]
From Bizet's unfinished works, Macdonald highlights La coupe du roi de Thulé as giving clear signs of the power that would reach a pinnacle in Carmen, and suggests that had Clarissa Harlowe and Grisélidis been completed, Bizet's legacy would have been "infinitely richer".[7] As Bizet moved away from the accepted musical conventions of French opera he encountered critical hostility. In the case of Djamileh, the accusation of "Wagnerism" was raised again,[123] as audiences struggled to understand the score's originality; many found the music pretentious and monotonous, lacking in both rhythm and melody.[90] By contrast, modern critical opinion as expressed by Macdonald is that Djamileh is "a truly enchanting piece, full of inventive touches, especially of chromatic colour."[7]
Ralph P. Locke, in his study of Carmen's origins, draws attention to Bizet's successful evocation of Andalusian Spain.[98] Grout, in his History of Western Music, praises the music's extraordinary rhythmic and melodic vitality, and Bizet's ability to obtain the maximum dramatic effect in the most economical fashion.[124] Among the opera's early champions were Tchaikovsky, Brahms, and particularly Wagner, who commented: "Here, thank God, at last for a change is somebody with ideas in his head."[125] Another champion of the work was Friedrich Nietzsche, who claimed to know it by heart; "It is music that makes no pretensions to depth, but it is delightful in its simplicity, so unaffected and sincere".[126] By broad consent, Carmen represents the fulfilment of Bizet's development as a master of music drama, and the culmination of the genre of opéra comique.[7][127]
Legacy[link]
After Bizet's death many of his manuscripts were lost; works were revised by other hands, and published in these unauthorised versions so that it is often difficult to establish what is authentic Bizet.[7] Even Carmen was altered into grand opera format by the replacement of its dialogue with recitatives written by Guiraud, and by other amendments to the score.[127] The music world did not immediately acknowledge Bizet as a master and, apart from Carmen and the L'Arlésienne suite, few of his works were performed in the years immediately following his death.[7] However, the 20th century saw an increase of interest. Don Procopio was revived in Monte Carlo in 1906;[128] An Italian version of Les pêcheurs de perles was performed at the Metropolitan Opera in New York on 13 November 1916, with Caruso in the leading tenor role;[129] it has since become a staple at many opera houses.[130] After its first performance in Switzerland in 1935, the Symphony in C entered the concert repertory, and has been recorded by, among many others, Sir Thomas Beecham.[131][132] Excerpts from La coupe du roi de Thulé, edited by Winton Dean, were broadcast by the BBC on 12 July 1955,[133] and Le docteur Miracle was revived in London on 8 December 1957 by the Park Lane Group.[128] Items from Vasco da Gama and Ivan IV have been recorded, as have numerous songs and the complete piano music.[n 10] Carmen, after its lukewarm initial Paris run of 45 performances, became a worldwide popular success after performances in Vienna (1875) and London (1878).[137] It has been hailed as the first opera of the verismo school, in which sordid and brutal subjects are emphasised, with art reflecting life—"not idealised life but life as actually lived."[125][138]
Schonberg surmises that had Bizet lived, he might have revolutionised French opera;[126] as it is, verismo was taken up mainly by Italians, notably Puccini who, according to Dean, developed the idea "till it became threadbare".[139][n 11] Bizet founded no specific school, though Dean names Chabrier and Ravel as composers influenced by him. Dean also suggests that a fascination with Bizet's tragic heroes—Frédéri in L'Arlésienne, José in Carmen—is reflected in Tchaikovsky's late symphonies, particularly the B minor "Pathetique".[139] Macdonald writes that Bizet's legacy is limited by the shortness of his life and by the false starts and lack of focus that persisted until his final five years. "The spectacle of great works unwritten either because Bizet had other distractions, or because no one asked him to write them, or because of his premature death, is infinitely dispiriting, yet the brilliance and the individuality of his best music is unmistakable. It has greatly enriched a period of French music already rich in composers of talent and distinction".[7]
Of Bizet's family circle, his father Adolphe died in 1886. Bizet's son Jacques committed suicide in 1922 after an unhappy love affair. Jean Reiter, Bizet's elder son, had a successful career as press director of Le Temps, became an Officer of the Legion of Honour, and died in 1939 at the age of 77. In 1886 Geneviève married Émile Straus, a rich lawyer; she became a famous Parisian society hostess and a close friend of, among others, Marcel Proust. She showed little interest in her first husband's musical legacy, made no effort to catalogue Bizet's manuscripts and gave many away as souvenirs. She died in 1926; in her will she established a fund for a Georges Bizet prize, to be awarded annually to a composer under 40 who had "produced a remarkable work within the previous five years". Winners of the prize include Tony Aubin, Jean-Michel Damase, Henri Dutilleux and Jean Martinon.[141][142]
Notes and references[link]
Notes
- ^ Lecocq wrote: "Bizet's score was not bad, but rather heavy, and he failed with almost all of the little couplets I was able to bring off". Mina Curtiss suggests that this pique reflected Lecocq's general disappointment with a career in which theatrical success largely eluded him.[16]
- ^ Although Bizet was initially flattered to be part of Offenbach's circle, and relished the contacts he made at the Friday gatherings, he became resentful of the hold which the older composer had established over French musical theatre, and grew contemptuous of his music. In a letter to Paul Lacombe in 1871 Bizet refers to "the ever-increasing invasion of that infernal Offenbach", and dismisses Offenbach's work as "trash" and "this obscenity".[18]
- ^ The name "Opéra-Comique" does not imply literal "comic opera" or opera buffa. The most specific characteristic of Opéra-Comique productions was the replacement of sung recitative with spoken dialogue—the German singspiel model.[33][34]
- ^ Dean identifies one of these as Les Templiers, libretto by Saint-Georges and Léon Halévy. Another, title unknown, was for a libretto by Arthur Leroy and Thomas Sauvage.[52]
- ^ This performance, against Bizet's wishes, omitted the scherzo that had formed part of his third envoi. The scherzo was not included in the symphony until 1880, five years after Bizet's death.[57]
- ^ Although there were few instances of actual starvation during the Siege, infant mortality rose considerably because of a shortage of milk. The main sources of meat were horses and domestic pets: "It has been calculated that during the entire Siege 65,000 horses, 5,000 cats and 1,200 dogs were eaten".[72]
- ^ A second L'Arlésienne suite was prepared by Guiraud and performed in 1879, four years after Bizet's death. This is generally known as L'Arlésienne suite No. 2.[82]
- ^ The acknowledged Spanish melodies are the Habañera, which uses a popular tune by Sebastián Iradier, and the entr'acte to Act 4 which is based on an aria from Manuel Garcia's opera El criado fingido.[97][98]
- ^ This opinion was recorded by a physician, Eugène Gelma of the University of Strasbourg, many years after Bizet's death.[109]
- ^ Numerous recordings of these works are available.[134][135][136]
- ^ In his 1958 biography of Puccini, Edward Greenfield calls the association of Puccini with verismo "misleading", stating that he chose his subjects on pragmatic principles of maximum audience appeal.[140]
References
- ^ Dean (1965), p. 1
- ^ a b Curtiss, p. 7
- ^ a b c d Dean (1965), pp. 2–4
- ^ Curtiss, pp. 8–10
- ^ Curtiss, pp. 12–13
- ^ Curtiss, pp. 15–17
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y Macdonald, Hugh. "Bizet, Georges (Alexandre-César-Léopold)". Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/51829?q=Georges+Bizet&search=quick&pos=1&_start=1. Retrieved 18 September 2011. (Subscription required)
- ^ Dean (1965), p. 6
- ^ Curtiss, p. 21
- ^ Dean (1965), pp. 7–8
- ^ Dean (1965), p. 153 and pp. 266–67
- ^ Dean (1965), pp. 138–39 and pp. 262–63
- ^ Curtiss, pp. 38–39
- ^ Curtiss, pp. 39–40
- ^ Dean (1965), p. 9
- ^ Curtiss, pp. 41–42
- ^ a b Dean (1965), pp. 10–11
- ^ Curtiss, pp. 311–12
- ^ Curtiss, Mina (July 1954). "Bizet, Offenbach, and Rossini". The Musical Quarterly 40 (3): 350–59. JSTOR 740074. (Subscription required)
- ^ Curtiss, pp. 48–50
- ^ Curtiss, p. 53
- ^ Dean (1965), pp. 15 and 21
- ^ Greenfield, Edward (February 2011). "Bizet – Clovis et Clotilde. Te Deum". Gramophone. http://www.gramophone.co.uk/review/bizet-clovis-et-clotilde-te-deum.
- ^ Dean (1965), p. 24
- ^ Curtiss, pp. 94–95
- ^ Dean (1965), pp. 20, 260–66 and 270–71
- ^ a b Curtiss, pp. 106–07
- ^ Dean (1965), p. 17
- ^ Curtiss, p. 88
- ^ Dean (1965), p. 19
- ^ Curtiss, pp. 97–106
- ^ a b Dean (1965), pp. 41–42
- ^ a b c Dean (1965), pp. 36–39
- ^ Schonberg (Vol. I), p. 210
- ^ a b c Steen, p. 586
- ^ Neef (ed.), pp. 184, 190 and 48
- ^ Osborne, p. 89
- ^ Curtiss, p. 112
- ^ Curtiss, p. 109
- ^ Dean (1965), p. 45
- ^ a b c Dean (1980), pp. 754–55
- ^ Curtiss, p. 122
- ^ Curtiss, pp. 140–41
- ^ a b c d Dean (1980), pp. 755–56
- ^ Curtiss, p. 146
- ^ Dean (1965), pp. 54–55
- ^ Steen, p. 589
- ^ Dean (1965), p. 261
- ^ Dean (1965), p. 62
- ^ Dean (1965), pp. 71–72
- ^ Curtiss, pp, 206–09
- ^ Dean (1965), pp. 79 and 260–63
- ^ Curtiss, pp. 194–98
- ^ Dean (1965), pp. 77–79
- ^ a b Dean (1980), p. 757
- ^ Curtiss, p. 232
- ^ Dean (1965), pp. 80–81
- ^ a b Dean (1965), p. 84
- ^ Dean (1965), p. 82
- ^ Dean (1965), pp. 69–70
- ^ Steen, pp. 589–90
- ^ Dean (1965), p. 70
- ^ Curtiss, p. 250
- ^ Dean (1965), p. 82
- ^ a b c d e Curtiss, Mina; Bizet, Georges (July 1950). "Unpublished Letters by Georges Bizet". The Musical Quarterly (Oxford University Press) 36 (3): 375–409. JSTOR 739910. (Subscription required)
- ^ Curtiss, pp. 254–56
- ^ Curtiss, p. 258
- ^ Steen, p. 591
- ^ a b c Curtiss, pp. 259–62
- ^ a b Steen, p. 594
- ^ Curtiss, p. 263
- ^ Steen, p. 596
- ^ Curtiss, p. 268
- ^ Steen, pp. 598–601
- ^ Dean (1965), p. 87
- ^ Steen, p. 602
- ^ Curtiss, pp. 315–317
- ^ Dean (1965), pp. 91–95
- ^ Dean (1965), pp. 96–98
- ^ Curtiss, pp. 329–30
- ^ Curtiss, pp. 332–40
- ^ Curtiss, p. 332
- ^ Curtiss, p. 342
- ^ Dean (1965), p. 100
- ^ Schonberg (Vol. II), p. 36
- ^ Dean (1965), p. 107
- ^ Curtiss, pp. 352–53
- ^ Dean (1965), p. 108
- ^ Dean (1965), pp. 110–111
- ^ a b Dean (1980), pp. 758–60
- ^ McClary, p. 24
- ^ Dean (1965), pp. 112–14
- ^ McClary, p. 23
- ^ a b Curtiss, p. 387
- ^ a b Sheen, pp. 604–05
- ^ Curtiss, p. 391
- ^ McClary, p. 26
- ^ a b Locke, pp. 318–319
- ^ Dean (1965), p. 117
- ^ Dean (1965), p. 118
- ^ Curtiss, pp. 408–09
- ^ Dean (1965), p. 116
- ^ Curtiss, p. 61
- ^ Steen, p. 588
- ^ Curtiss, p. 221
- ^ Curtiss, pp. 310 and 367
- ^ Dean (1965), p. 122
- ^ a b Dean (1965), pp. 124–26
- ^ Curtiss, p. 419
- ^ Curtiss, pp. 422–23
- ^ Dean (1965), p. 128
- ^ Dean (1980), p. 749
- ^ a b Dean (1980), pp. 750–51
- ^ Newman, pp. 426–27
- ^ Dean (1965), pp. 141–45
- ^ Ashley, Tim (10 March 2011). "Bizet: Complete Music for Solo Piano – review". The Guardian. http://www.guardian.co.uk/music/2011/mar/10/bizet-solo-piano-review.
- ^ Dean (1965), p. 152
- ^ Dean (1965), p. 157
- ^ Newman, p. 428
- ^ Dean (1980), p. 752
- ^ Lacombe, p. 178
- ^ Dean (1965), pp. 184–85
- ^ Curtiss, p. 325
- ^ Grout and Palisca, p. 615
- ^ a b Schonberg (Vol. II), pp. 36–37
- ^ a b Schonberg (Vol. II), pp. 34–35
- ^ a b Dean (1980), pp. 760–61
- ^ a b Warrack and West, pp. 195 and 201
- ^ "Les pêcheurs de perles: Metropolitan Opera House: 11/13/1916". Metropolitan Opera House, New York. http://archives.metoperafamily.org/archives/frame.htm. Retrieved 11 October 2011.
- ^ Macdonald, Hugh. "Pêcheurs de perles, Les". Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/O903766?q=Les+pecheurs+de+perles&search=quick&pos=1&_start=1#firsthit. Retrieved 11 October 2011. (Subscription required)
- ^ Roberts (ed.), pp. 171–72
- ^ Harvey, Trevor (February 1957). "Bizet Symphony No. 1 in C major". The Gramophone: p. 27. http://www.gramophone.net/Issue/Page/February%201957/27/844677.
- ^ Dean (1980), p. 762
- ^ "Bizet: Vasco da Gama: Ouvre ton coeur". Presto Classical. http://www.prestoclassical.co.uk/w/68754/Georges-Bizet-Vasco-da-Gama-Ouvre-ton-coeur. Retrieved 11 October 2011.
- ^ "Bizet: Ivan IV, an opera in five acts". Presto Classical. http://www.prestoclassical.co.uk/w/59558/Georges-Bizet-Ivan-IV-an-opera-in-five-acts. Retrieved 11 October 2011.
- ^ "Bizet: Complete Piano Music". Presto Classical. http://www.prestoclassical.co.uk/r/Naxos/8570831-32. Retrieved 11 October 2011.
- ^ Curtiss, pp. 426–29
- ^ Dent, p. 350
- ^ a b Dean (1965), pp. 244–46
- ^ Greenfield, p. 206
- ^ Steen, pp. 605–06
- ^ Curtiss, pp. 438–41
Bibliography[link]
- Curtiss, Mina (1959). Bizet and his World. London: Secker & Warburg. OCLC 505162968.
- Dean, Winton (1965). Georges Bizet: His Life and Work. London: J.M. Dent & Sons Ltd. OCLC 643867230.
- Dean, Winton (1980). "Bizet, Georges (Alexandre César Léopold)". In Sadie, Stanley (ed.). New Grove Dictionary of Music and Musicians. 2. London: Macmillan. ISBN 0-333-23111-2.
- Dent, Edward J. (1934). "Opera". In Bacharach, A. L.. The Musical Companion. London: Victor Gollancz. OCLC 500218960.
- Greenfield, Edward (1958). Puccini: Keeper of the Seal. London: Arrow Books. OCLC 654174732.
- Grout, Donald Jay; Palisca, Claude V. (1981). A History of Western Music (Third edition). London: J.M. Dent & Sons Ltd. ISBN 0-460-04546-6.
- Lacombe, Hervé (2001). The Keys to French Opera in the Nineteenth Century. Berkeley: University of California Press. ISBN 0-520-21719-5. http://books.google.com/?id=SQOZG847ylAC&pg=PA132&lpg=PA132&dq=comme+autrefois+dans+la+nuit+sombre#v=onepage&q=comme%20autrefois%20dans%20la%20nuit%20sombre&f=false.
- Locke, Ralph P. (2009). "Spanish Local Color in Bizet's Carmen". In Fauser, Annegret; Everist, Mark (eds). Music, Theatre and Cultural Transfer: Paris 1830–1914. Chicago: The University of Chicago Press. ISBN 978-0-226-23926-2. http://books.google.com/?id=EcwNywz8uk0C&pg=PA316&lpg=PA316&dq=Spanish+local+color+in+Bizet%27s+carmen#v=onepage&q=Spanish%20local%20color%20in%20Bizet%27s%20carmen&f=false.
- McClary, Susan (1992). George Bizet: Carmen. Cambridge, UK: Cambridge University Press. ISBN 0-521-39897-5. http://books.google.com/?id=UNGaPmlHFzgC&pg=PA25&lpg=PA25&dq=Lesley+Wright+Bizet#v=onepage&q=Lesley%20Wright%20Bizet&f=false.
- Neef, Sigrid (ed.) (2000). Opera: Composers, Works, Performers (English edition). Cologne: Könemann. ISBN 3-8290-3571-3.
- Newman, Ernest (1954). More Opera Nights. London: Putnam. OCLC 462366584.
- Osborne, Charles (1992). The Complete Operas of Wagner. London: Victor Gollancz. ISBN 0-575-05380-1.
- Roberts, David (ed.) (2005). The Classical Good CD & DVD Guide. London: Haymarket Consumer. ISBN 0-86024-972-7.
- Schonberg, Harold (1975). The Lives of the Great Composers, Volume I. London: Futura Publications Ltd. ISBN 0-86007-722-5.
- Schonberg, Harold (1975). The Lives of the Great Composers, Volume II. London: Futura Publications Ltd. ISBN 0-86007-723-3.
- Steen, Michael (2003). The Life and Times of the Great Composers. London: Icon Books. ISBN 978-1-84046-679-9.
- Warrack, John; West, Ewan (1992). The Oxford Dictionary of Opera. Oxford: Oxford University Press. ISBN 0-19-869164-5.
External links[link]
Media related to Georges Bizet at Wikimedia Commons
| Persondata | |
|---|---|
| Name | Bizet, Georges |
| Alternative names | Bizet, Alexandre-César-Léopold |
| Short description | French composer |
| Date of birth | 25 October 1838 |
| Place of birth | Paris, France |
| Date of death | 3 June 1875 |
| Place of death | Bougival, France |
http://wn.com/Georges_Bizet
Related pages:
http://ru.wn.com/Бизе, Жорж
http://es.wn.com/Georges Bizet
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Georges_Bizet
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
 |
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (September 2009) |
Alain Vanzo (April 2, 1928 - January 27, 2002) was a French opera singer and composer, one of few French tenors of international standing in the postwar era. He, along with such singers as Henri Legay and the Canadian Léopold Simoneau, represented a traditional French lyric style during a period when larger Italian and German vocal styles had become popular.
Life and career[link]
Vanzo was born in Monte Carlo, Monaco, the son of a Mexican father and a French mother. He started singing at a young age in the church choir. At 18, he started singing popular songs with a small band called "La Bastringue". He sang at the Théâtre du Châtelet, during the 1951-52 season, as a double for Luis Mariano in the operetta Le Chanteur de Mexico, while taking voice lessons with Rolande Darcoeur in Paris. His breakthrough came in 1954, when he participated in a singing contest at Cannes, and won the first prize.
Vanzo was then immediately invited to sing at the Opéra-Comique and at the Palais Garnier quickly establishing himself in the standard French lyric repertory, such as Nadir in Les pêcheurs de perles, Gérald in Lakmé, Faust, Roméo in Roméo et Juliette, Vincent in Mireille, des Grieux in Manon, etc. He also sang the Italian repertory, such as the Duke in Rigoletto, Alfredo in La Traviata, Rodolfo in La bohème. He won great acclaim at the Palais Garnier in 1960, as Edgardo in Lucia di Lammermoor, opposite Joan Sutherland who was making her debut there. This was the beginning of his international career, appearing at many of the major opera houses in Europe, the Royal Opera House in London, La Monnaie in Brussels, the Liceu in Barcelona, the Vienna State Opera, etc. Vanzo also appeared in North America, on tour with the Paris Opera, singing Faust, and in South America at the Teatro Colón in Les contes d'Hoffmann. He sang at Carnegie Hall in New York, as Gennaro, in the famous 1965 concert version of Lucrezia Borgia, opposite Montserrat Caballé.
As the years went by, Vanzo extended his repertory to more dramatic roles, such as Arrigo in the original French version of I Vespri Siciliani, Adorno in Simon Boccanegra, Cavaradossi in Tosca, Robert in Robert le Diable, Raoul in Les Huguenots, Mylio in Le roi d'Ys, and became internationally renowned as one of best exponent of the role of Benvenuto Cellini and Werther.
Vanzo never officially retired, singing well into his 60s, mostly in recital, and appearing frequently on French television. He left relatively few commercial recordings, the most famous being Lakmé, opposite Joan Sutherland, and conducted by Richard Bonynge.
Vanzo also composed, writing songs and two major works, the operetta Pêcheur d'Etoile which premiered at Lille, in 1972, and the lyrical drama Les Chouans, which premiered at Avignon, in 1982.
Alain Vanzo died in Paris, on January 27, 2002, of complications following a stroke, at the age of 73.
Selected recordings[link]
- Bizet: Les pêcheurs de perles - Jeanine Micheau (Leïla), Alain Vanzo (Nadir), Gabriel Bacquier (Zurga), Lucien Lovano (Nourabad), Chœur de la RTF, Orchestre Radio-Lyrique, Conductor: Manuel Rosenthal. Paris, June 25, 1959. GALA GL 100.504
- Bizet: Les pêcheurs de perles - Ileana Cotrubaş (Leïla), Alain Vanzo (Nadir), Guillermo Sarabia (Zurga), Roger Soyer (Nourabad), Paris Opera Orchestra and Chorus, Conductor: Georges Prêtre. Audio CD: EMI Cat: 367702-2
- Delibes: Lakmé - Joan Sutherland (Lakmé), Alain Vanzo (Gérald), Gabriel Bacquier (Nilakantha), Jane Berbié (Mallika), Chœurs et Orchestre National de l'Opéra de Monte Carlo, Richard Bonynge (conductor) (Decca) 1967
- Donizetti: Lucrezia Borgia - Montserrat Caballé (Lucrezia Borgia), Alain Vanzo (Gennaro), Jane Berbié (Orsini), Kostas Paskalis, Jonel Perlea, New York City Opera orchestra and chorus, Opera D'Oro 1030815, 1965
- Donizetti: Lucia di Lammermoor (French) - Mady Mesplé (Lucie), Robert Massard (Henri), Alain Vanzo (Edgard), Orchestre, Chœurs, Georges Sébastian - 1960
- Gounod: Sapho - Katherine Ciesineki (Sapho), Eliane Lublin (Glycère), Alain Vanzo, tenor (Phaon); Frédéric Vassar (Pythéas), Alain Meunier (Alcée); French Radio Chorus and New Philharmonic Orchestra; Sylvain Cambreling, Harmonia Mundi 2453/4 (LPs); 32453/4 (CDs), 1979
- Gounod: Mireille - Mirella Freni (Mireille), Alain Vanzo (Vincent), José van Dam (Ourrias), Jane Rhodes (Taven), Gabriel Bacquier (Maître Ramon), Choeur et Orchestre du Capitole de Toulouse, Michel Plasson; (EMI) 1979.
- Massenet: Le Jongleur de Notre-Dame - Alain Vanzo (Jean), Jules Bastin (Boniface), Marc Vento (Le Prieur), L'Opéra de Monte-Carlo, Roger Boutry – 1978 (EMI)
- Meyerbeer: Fourteen Mélodies - Alain Vanzo, ténor; Josée Fabre, piano. Coriolan: GPP000016 released 2002.
- Offenbach: La Périchole - Régine Crespin (La Périchole), Alain Vanzo (Piquillo), Jules Bastin (Don Andrès de Ribeira). Opéra du Rhin Chorus, Strasbourg Philharmonic Orchestra, Alain Lombard. Erato. 1976
- Puccini: La bohème (French) - Renée Doria (Mimì), Alain Vanzo (Rodolfo), Robert Massard (Marcello), conducted by Erasmo Ghiglia (1960)
Sources[link]
- Alain Pâris, Dictionnaire des interprètes et de l'interpretation musicale au XX siècle (2 vols), Ed. Robert Laffont (Bouquins, Paris 1982, 4th Edn. 1995, 5th Edn 2004). ISBN 2-221-06660-X
- D. Hamilton (ed.),The Metropolitan Opera Encyclopedia: A Complete Guide to the World of Opera (Simon and Schuster, New York 1987). ISBN 0-671-61732-X
- Roland Mancini and Jean-Jacques Rouveroux, (orig. H. Rosenthal and J. Warrack, French edition), Guide de l’opéra, Les indispensables de la musique (Fayard, 1995). ISBN 978-2-213-59567-2
- The Complete Dictionary of Opera & Operetta, James Anderson ISBN 0-517-09156-9
| Persondata | |
|---|---|
| Name | Vanzo, Alain |
| Alternative names | |
| Short description | |
| Date of birth | April 2, 1928 |
| Place of birth | |
| Date of death | January 27, 2002 |
| Place of death | |
http://wn.com/Alain_Vanzo
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Alain_Vanzo
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Angela Gheorghiu (Romanian pronunciation: [anˈd͡ʒela ɡe̯orˈɡi.u] (
listen); born Angela Burlacu September 7, 1965) [1] is a Romanian soprano. Since her professional debut in 1990, she has performed in the leading roles of several operas at New York's Metropolitan Opera, London's Royal Opera House, the Vienna State Opera, Milan's La Scala, and many other opera houses in Europe and the United States. She has a substantial discography primarily with EMI Classics and Decca.
Contents |
Biography[link]
Gheorghiu was born in 1965 in Adjud, Romania. Along with her sister Elena Dan, she sang opera music from an early age.[2] At age 14, Gheorghiu began to study singing at the National University of Music Bucharest, primarily under Mia Barbu. Her graduation in 1990 coincided with the overthrow and execution of Nicolae Ceaușescu the previous year, enabling her to seek an international career immediately. Her professional opera debut took place at the Cluj-Napoca Romanian National Opera as Mimì in La bohème in 1990, the same year she won the Belvedere International Competition.[3]
Gheorghiu made her international debut in 1992 at the Royal Opera House as Zerlina in Don Giovanni.[4] She debuted at the Vienna State Opera as Adina in L'elisir d'amore and at the Metropolitan Opera as Mimì in La bohème.[5] In 1994, she was auditioned by the conductor Sir Georg Solti for a new production of La traviata at the Royal Opera House. Her debut as Violetta led her to international stardom.
Gheorghiu has concentrated her repertoire on several different roles: Violetta, Mimì, Magda, Adina, and Juliette. In 2003, she debuted as Nedda in Pagliacci and as Marguerite in Faust. A soprano with a large range and a dark coloured voice,[6] Gheorghiu is also able to sing spinto roles. She has recorded Tosca (also made into a film in 2001, directed by the French director Benoît Jacquot) and Leonora in Il trovatore for EMI and sang in her first Tosca at the Royal Opera House, Covent Garden, in 2006. Her performance was an overall success, although because the famous Zeffirelli production of 1964 was replaced by a new production (which premiered with her), there was comparison between the Toscas of Gheorghiu and Maria Callas, for whom the Zeffirelli production was designed.
Gheorghiu took part in many concerts, singing alone or together with her colleagues. Among the most important ones, the reopening of the Royal Opera House Covent Garden (1999) and Teatro Malibran in Venice (2001) and at the opening the new Opera House in Valencia, in the presence of the Queen Sofia of Spain (2005). She sang at the "Prom at the Palace" (2002), the event that marked the Jubilee of Queen Elizabeth II, a concert that is available on DVD. She also sung at the Queen Beatrix's Jubilee Gala in Amsterdam (2005), at the New Year's Eve Concert at Palais Garnier in Paris (2006), at the "Met Summer Concert" in Prospect Park, New York (2008) or at the Memorial Concert for Luciano Pavarotti in Petra (2008). In 2009, Gheorghiu was invited to honor Grace Bumbry during the 32nd Annual Kennedy Center Honors, in Washington, DC. She performed "Vissi d'arte" from Puccini's Tosca in the presence of Barack Obama, the president of the United States.[7]
In December 2000, Gheorghiu performed the title role in the film Tosca, directed by Benoit Jacquot, together with Roberto Alagna and Ruggero Raimondi.[8] One year later, in 2002, Gheorghiu interpreted Juliette in the movie Roméo et Juliette, alongside Roberto Alagna and Tito Beltrán, also released on DVD.[9]
In November 2010 Gheorghiu made her debut in Cilea's Adriana Lecouvreur, a new production of the Royal Opera House, Covent Garden. The Observer wrote: "It's hard to imagine anyone bettering Angela Gheorghiu in this part. Her voice, feather-light and creamy yet with a core of steel, matches the liquid way she moves on stage. She's a natural actress and made the improbable death scene heartbreakingly believable and her signature aria "Poveri fiori" simply unforgettable."[10] The Telegraph wrote: "Adriana is known as a nice, easy sing for ageing or challenged prima donnas (no difficult top notes, and a tame orchestra), so Gheorghiu, in her vocal prime, should have found it a doddle. But her first aria was bumpy and nervous, and she fudged the end of the second. Elsewhere, in duet and declamation, she often sang exquisitely."[11]
In July 2011 Gheorghiu sang the title role in Tosca at the Royal Opera House conducted by Antonio Pappano, and the following September returned there for the revival of Faust, which was broadcast live in cinemas all over the world. In April 2012, she appeared for the first time at the Teatro Colón, Buenos Aires, in a concert of duets with Roberto Alagna.[12]
Awards and honors[link]
She has recorded many recital albums and complete opera recordings and often appears on television and in concerts. The EMI recording of Massenet's Manon with Gheorghiu in the title role won the 2001 Gramophone Award for "Best Opera Recording", was nominated for "Best Opera Recording" in the 2002 Grammy Awards.[13][14] The EMI recording of Puccini's Tosca with Gheorghiu, Roberto Alagna and Ruggero Raimondi in the title roles brought her the Deutscher Schallplattenpreis award in 2002.[15] She also won Diapason d'Or Awards, Choc du Monde de la Musique in France, Cecilia Prize in Belgium, the Echo Award, the Italian Musica e dischi, Foreign Lyric Production Award, the USA Critics' Award. Gheorghiu won the title of Female Artist of the Year at the Classic Brit Awards in 2001 and 2010.[16] She was honoured with "La Medaille Vermeille de la Ville de Paris" and she was appointed an Officier de l'Ordre des Arts et des Lettres and Chevalier de l'Ordre des Arts et Lettres by the French Ministry of Culture and by her native country Romania.[citation needed] In December 2010, Gheorghiu was awarded a Doctor Honoris Causa by the University of Arts in Iasi (Romania)[17] and the Star of Romania, the highest decoration given by the President of Romania.[18]
Gheorghiu at the Met and elsewhere[link]
On occasion, Gheorghiu has had difficult relationships with opera house managements and directors. Some, but not all, of them have stemmed from her opposition to directors who, as she put it in an interview with ABC "want to express their own fantasies, forgetting about the characters. At times, she says, what they put on stage goes against both the story and the music."[19] She has attributed her outspokenness to her upbringing in Romania under the totalitarian regime of Nicolae Ceaușescu:
"Because I grew up in a country where there was no possibility of having an opinion, it makes me stronger now. Lots of singers are frightened about not getting invited back to an opera house if they speak out. But I have the courage to be, in a way, revolutionary. I want to fight for opera, for it to be taken seriously. Pop music is for the body, but opera is for the soul.".[20]
Gheorghiu had a problematic relationship with former Metropolitan Opera General Manager Joseph Volpe after her debut there as Mimì in 1993. In 1996, Gheorghiu was cast as Micaela in a new production of Carmen, opposite Waltraud Meier and Plácido Domingo. The production by Franco Zeffirelli called for Micaela to wear a blonde wig, which Gheorghiu disliked. When the Met toured the production in Japan in 1997, she refused to wear it on the first night to which Volpe famously declared, "The wig is going on, with you or without you" and replaced her with an understudy.[21][22] She appeared at the Met again in 1998 for six performances of Roméo et Juliette with her husband, tenor Roberto Alagna as Roméo. Volpe had planned to engage Gheorghiu in Violetta Valery for a new production of La traviata, to premiere in November 1998 and directed by Zeffirelli. Alagna was to sing the role of Violetta's lover, Alfredo Germont. According to Volpe, Gheorghiu and Alagna argued with the staff and the director over production details and continually delayed signing the contract. They eventually signed their contracts, and faxed them to the Met one day past their deadline. Volpe refused to accept them. The production opened with Patricia Racette and Marcelo Álvarez as the lovers.[21]
In September 2007, Gheorghiu was dismissed from Lyric Opera of Chicago's production of La bohème by General Manager William Mason, for missing rehearsals and costume fittings, and generally "unprofessional" behavior. Gheorghiu said in a statement that she had missed some rehearsals to spend time with her husband, who was singing at the Met in Roméo et Juliette and rehearsing for Puccini's Madama Butterfly and added "I have sung 'Boheme' hundreds of times, and thought missing a few rehearsals wouldn't be a tragedy. It was impossible to do the costume fitting at the same time I was in New York.[23]
Six weeks later, Gheorghiu made her debut at San Francisco Opera receiving favorable reviews for her Magda in that company's new production of La rondine.[24][25] The San Francisco Opera production originated with London's Royal Opera House, where it premiered on May 7, 2002 with Gheorghiu and Alagna as Magda and her lover Ruggero. It is one which she particularly admires:
"When the curtain opened on La rondine at Covent Garden, the audience gasped and applauded. People want to dream. If directors want to do something new with operas, why not do something beautiful?"[26]
Despite these issues, Gheorghiu and Alagna returned to the Metropolitan Opera for five performances of L'elisir d'amore in 1999 and for four performances of Faust in 2003. Gheorghiu also performed at the Met as Liù in Turandot in 2000; as Violetta in La traviata opposite Jonas Kaufmann in 2006 and 2007; as Amelia in Simon Boccanegra in 2007; as Mimì in La bohème in 2008; as Magda in the 2008/09 season in the ROH/SFO production of La rondine, the Met's first performance of the opera since 1936; and for the 2009/10 season she appeared as Violetta, replacing her previous engagement as Marie Antoinette in a rare revival of John Corigliano's The Ghosts of Versailles which was replaced due to the recession.
On December 31, 2008, Gheorghiu premiered the new production of La rondine at the Met, together with Roberto Alagna, Marius Brenciu, Lisette Oropesa and Samuel Ramey. The opera was last performed at the house over 70 years ago. She received some favorable reviews for her Magda: "Gheorghiu embodies the part, as actress and singer, with her natural charisma."[27] The New York Times opinion was more mixed: "Vocally, both leads are somewhat disappointing. Ms. Gheorghiu, as Magda, sings with gleaming sound and wonderfully dusky colorings in the strong top register of her voice. But the earthy richness of her mid-range singing sometimes turns breathy, and her low voice is curiously weak."[28]
In August 2009, Gheorghiu canceled all her scheduled 2010 Met performances of Carmen, for "personal reasons".[29] It was to be her first public performance of the title role (normally sung by mezzo-sopranos). She also cancelled other Met performances scheduled near the end of 2010. In March 2011 she cancelled all her scheduled performances of Gounod's Roméo et Juliette at the Met, citing illness. Only days later she cancelled all her performances in the scheduled new production of Faust during the Met's 2011/2012 season. According to her manager the singer felt that "She felt uncomfortable in the concept". Peter Gelb, the Met's general manager, said that her frequent cancellations have become "an increasingly difficult problem for (the Met)." Gelb went on to say that, as of now, plans are still in place for Gheorghiu's return to the Met stage. He also went on the record to say "this has nothing to do with wigs."[30]
Personal life[link]
Divorced from her first husband, from whom she retained her surname, Gheorghiu married tenor Roberto Alagna in 1996. The couple have sung together often on stage and on studio recordings. She was once chosen the 74th "most beautiful" woman in the world by the magazine FHM.[31] In October 2009, Alagna said in an interview in Le Figaro that he and Gheorghiu had separated. This had been confirmed on Gheorghiu's website where she has made it clear that she and Alagna have not been in a relationship for over two years.[32] Following the separation, she declined to appear opposite Alagna in Carmen at the Metropolitan Opera in December 2009.[33] The divorce, however, was then called off, only a few months after announcing it, in December 2009.[34] In a March 2011 interview with the Daily Express she stated that she and Alagna were back together, and they were seen together in March 2011 backstage at London's Royal Opera House where Alagna was performing in Aida. She also stated in the interview that although she still wanted to sing separately from her husband for a while, she was looking forward to the day when they could retire together and have their own pets.[35][36][37] Later that year, they jointly opened a Greek amphitheatre in the Emirate of Qatar.[38]
Recordings[link]
Main article: Angela Gheorghiu discography
References[link]
- ^ John Warrack and Ewan West, 'Gheorghiu, Angela', The Concise Oxford Dictionary of Opera, Oxford University Press, 1996; Nicolas Slonimsky and Laura Diane Kuhn, Baker's Biographical Dictionary of Musicians, Gale Group, 2001, p. 1264; David M. Cummings, 'Gheorghiu, Angela', International Who's Who in Classical Music, Routledge, 2003, p.274
- ^ Roberto Alagna – People Magazine 21 June 1999
- ^ Vienna Chamber Opera: International Hans Gabor Belvedere Singing Competition
- ^ Biography on Official website (2004)
- ^ Biography of Angela Gheorghiu – The Metropolitan Opera
- ^ Crory, Neil (2005) "Recommended CD Recordings: Puccini: Angela Gheorghiu" Opera Canada 46(2): p.47
- ^ Torrance, Kelly Jane Kennedy Center honorees reflect America's diversity, The Washington Times, December 7, 2009
- ^ Tosca (2001) at the Internet Movie Database
- ^ Roméo et Juliet at the Internet Movie Database
- ^ Pritchard, Stephen The Observer, London, November 21, 2010
- ^ Christiansen, Rupert The Daily Telegraph, London, 19 November 2010
- ^ [http://www.bucharestherald.com/star-gossip/42-star-gossip/32210-angela-gheorghiu-to-perform-on-buenos-airescolon-teatro-stage-in-premiere-together-with-roberto-alagna Article in Bucharest Herald, 9 April 2012.
- ^ 2002 Grammy Nominees, Grammy Award Spotlight, CNN. Note that the Grammy awards recognize accomplishments by musicians from the previous year.
- ^ Paul Cutts Alagna scores second Gramophone Awards success, Gramophone, October 19, 2001.
- ^ Deutscher Schallplattenpreis Details about the prize
- ^ Angela Gheorghiu won Classical Brit Award in 2010
- ^ Victoria Cantir Ziarul de Iasi, 07.12.2010
- ^ Monitorul Oficial, Decretul 921 din 27 septembrie 2010 privind conferirea Ordinului National Steaua Romaniei in grad de Comandor
- ^ "que quiere expresar sus fantasías, olvidándose de los personajes. A veces, lo que se representa en el escenario va en contra de la historia y de la música." in Susana Gaviña, «Yo tengo el control en la ópera», ABC, May 18, 2007. Retrieved 3 June 2008.
- ^ Warwick Thompson, Her serene highness, The Times, May 4, 2007. Retrieved 3 June 2008.
- ^ a b Tommasini, Anthony (April 4, 1998). "Hesitating Celebrity Couple Loses a Met Opera Contract". The New York Times. Retrieved 16 April 2011.
- ^ Fiedler, Johanna (2001). Molto Agitato: The mayhem behind the music at the Metropolitan Opera. Doubleday, p. 299. ISBN 0-385-48187-X
- ^ Lyric Opera of Chicago fires soprano Angela Gheorghiu Associated Press, via The International Herald Tribune, September 28, 2007. Retrieved 3 June 2008.
- ^ Joshua Kosman, Gheorghiu's debut worth the wait in Opera's 'La rondine', San Francisco Chronicle, November 9, 2007. Retrieved 3 June 2008.
- ^ Georgia Rowe, "Angela Gheorghiu is the wind beneath the wings of La rondine", The Oakland Tribune, November 13, 2007. Retrieved 3 June 2008
- ^ Robert Thicknesse, The angel comes down to earth, The Times, June 11, 2004. Retrieved 3 June 2008.
- ^ Fruehauf, Rosemarie, "The Met's La rondine Charms",The Epoch Times, January 15–21, 2009
- ^ Tommasini, Anthony (January 1, 2009). "Puccini and Operetta? He Does It His Way". The New York Times. Retrieved 16 April 2011
- ^ Walker, Tim, "Soprano Angela Gheorghiu refuses to sing in New Year", The Telegraph, 13 August 2009. Accessed 10 October 2009
- ^ Wakin, Daniel J.. "Gheorghiu Withdraws From Faust at Met". The New York Times, March 7, 2011
- ^ Ed Vulliamy, Angela Gheorghiu and Roberto Alagna: A double act of arias and anger, The Observer, December 17, 2006; With a voice like that, she's allowed to be a nightmare, The Times, June 11, 2006.
- ^ Lutaud, Léna "Roberto Alagna et Angela Gheorghiu se séparent", Le Figaro, 8 October 2009. Accessed 8 October 2009
- ^ Bernheimer, Martin "Carmen", Financial Times, 4 January 2010. Accessed 7 January 2010
- ^ Antena 3. "Soprana Angela Gheorghiu nu mai divorţează" 12 December 2009 (Romanian)
- ^ Grant, Brigit. "Diva Angela Gheorghiu is a Little Angel". Daily Express, March 13, 2011
- ^ Bucharest English Herald 14 Mar 2011 story – Angela Gheorghiu and her husband, tenor Roberto Alagna are back together
- ^ Alagna in an interview in the September 2011 Diapason
- ^ Townson, Peter (13 December 2011). "Cultural village amphitheatre opens with inspiring concert". Gulf Times
External links[link]
- Angela Gheorghiu: Official website
- Official Angela Gheorghiu page on EMI Classics (Biography, discography, schedule)
| Persondata | |
|---|---|
| Name | Gheorghiu, Angela |
| Alternative names | Burlacu, Angela |
| Short description | Romanian opera soprano |
| Date of birth | September 7, 1965 |
| Place of birth | Adjud, Romania |
| Date of death | |
| Place of death | |
http://wn.com/Angela_Gheorghiu
Related pages:
http://ru.wn.com/Георгиу, Анджела
http://es.wn.com/Angela Gheorghiu
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Glenn Gould
Glenn Herbert Gould[fn 1][fn 2] (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the 20th century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach’s music.
Gould rejected most of the standard Romantic piano literature and, after his adolescence, avoided Liszt, Schumann, and Chopin. Although his recordings were dominated by Bach, Gould's oeuvre was diverse, including works by Beethoven, Mozart, Haydn, Brahms, pre-Baroque composers such as Jan Sweelinck, and such 20th-century composers as Paul Hindemith and Arnold Schoenberg. Gould was well known for various eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and personal behavior. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.
Gould was also known as a writer, composer, conductor, and broadcaster. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. His career as a composer was less distinguished. His output was minimal and many projects were left unfinished. There is evidence that, had he lived beyond 50, he intended to abandon the piano and devote the remainder of his career to conducting and other projects. As a broadcaster, Gould was prolific. His output ranged from television and radio broadcasts of studio performances to musique concrète radio documentaries about life in the Canadian wilderness.
Contents |
Life[link]
Early life[link]
Glenn Herbert Gould was born at home in Toronto on September 25, 1932, to Russell Herbert ("Bert") Gold and Florence ("Flora") Emma Gold (née Grieg),[1] Presbyterians of Scottish and English ancestry.[2] His maternal grandfather was a cousin of Norwegian composer Edvard Grieg.[3][4] The family's surname was changed to Gould informally around 1939 in order to avoid being mistaken for Jewish, given the prevailing anti-Semitism of prewar Toronto and the Gold surname's Jewish association.[fn 3] Gould had no Jewish ancestry,[fn 4] though he sometimes made jokes on the subject, like "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war."[5] Gould grew up in a home at 32 Southwood Drive, Toronto. His childhood home has been named a historic site by the City of Toronto.[6]
Gould's interest in music and his talent as a pianist became evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. Before his birth, his mother planned for him to become a successful musician, and thus exposed him to music during her pregnancy.[9] As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist".[10] By the age of three, Gould's perfect pitch was noticed. He learned to read music before he could read words.[3][11][12] When presented with a piano, the young Gould was reported to strike single notes and listen to their long decay, a practice his father Bert noted was different from typical children.[11] Gould's interest in the piano proceeded side by side with an interest in composition. He would play his own little pieces for family, friends, and sometimes large gatherings, including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould house) of one of his own compositions.[13] At the age of six, he was taken for the first time to hear a live musical performance by a celebrated soloist. This left a tremendous impression. He later described the experience:
It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all orchestral sounds, but I was playing them all, and suddenly I was Hofmann. I was enchanted.[3][14]
As a young child, Gould was taught piano by his mother. At the age of 10, he began attending The Royal Conservatory of Music in Toronto. He studied music theory with Leo Smith, the organ with Frederick C. Silvester, and piano with Alberto Guerrero.[15] Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of Lake Simcoe.[fn 5] This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard.[16] He used this chair for the rest of his life and took it with him almost everywhere.[3] This famous chair was designed so that Gould could sit very low at the keyboard. The chair allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero.[17]
Gould developed a technique that enabled him to choose a very fast tempo while retaining the separateness and clarity of each note.[18] His extremely low position at the instrument arguably permitted more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel's La valse and Liszt's transcriptions of Beethoven's fifth and sixth symphonies. Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping: a method of training the fingers to act more independently from the arm.[19]
Gould passed his final Conservatory examination in piano at the age of 12 (achieving the "highest marks of any candidate"), thus attaining "professional standing as a pianist" at that age.[20] One year later he passed the written theory exams, qualifying for an ATCM diploma.[fn 6][20]
Gould the pianist[link]
Gould claimed he almost never practiced on the piano, preferring to study music by reading it rather than playing it,[fn 7] another technique he had learned from Guerrero. His manual practicing focused on articulation, rather than basic facility. He may have spoken ironically about his practicing, but there is evidence that on occasion, he did practice quite hard, sometimes using his own drills and techniques.[fn 8]
He stated that he didn't understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day.[21] It seems that Gould was able to practice mentally without access to an instrument, and even took this so far as to prepare for a recording of Brahms piano works without ever playing them until a few weeks before the recording sessions. This is all the more staggering considering the absolute accuracy and phenomenal dexterity exhibited in his playing. Gould's large repertoire also demonstrated this natural mnemonic gift.
The piano, Gould said, "is not an instrument for which I have any great love as such... [but] I have played it all my life, and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."[22]
Of significant influence upon the teenage Gould were Artur Schnabel,[fn 9] Rosalyn Tureck's recordings of Bach ("upright, with a sense of repose and positiveness"), and Leopold Stokowski.[23]
Gould was known for having a vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric.[18] His piano playing had great clarity and erudition, particularly in contrapuntal passages,[18] and extraordinary control. He was a child prodigy[24] and in adulthood described as a musical phenomenon.[fn 10] As he played, he often swayed his torso in a clockwise motion.
Gould had a pronounced aversion to what he termed a "hedonistic" approach to the piano repertoire, performance, and music generally. For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career.[25] He associated this drift towards hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.[26]
Performances[link]
In 1945, he gave his first public performance, playing the organ,[27] and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of the first movement of Beethoven's 4th Piano Concerto.[28] His first solo recital followed in 1947,[29] and his first recital on radio was with the CBC in 1950.[30] This was the beginning of his long association with radio and recording. He founded the Festival Trio chamber group in 1953 with the cellist Isaac Mamott and the violinist Albert Pratz.
In 1957, Gould embarked on a tour of the Soviet Union, becoming the first North American to play there since World War II.[31] His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series.[32]
Gould was convinced that the institution of the public concert was not only an anachronism, but also a "force of evil", leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or not meeting critical expectation. This doctrine he set forth, only half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.[33]
On April 10, 1964, Gould gave his last public performance, playing in Los Angeles, at the Wilshire Ebell Theater.[34] Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's The Art of Fugue, and Paul Hindemith's Piano Sonata No. 3.[fn 11] Gould performed fewer than 200 concerts over the course of his career, of which fewer than 40 were overseas. For pianists such as Van Cliburn, 200 concerts would have amounted to about two years' touring.[35]
One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone".[fn 12] There, he could control every aspect of the final musical "product" by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.
Technology[link]
The issue of "authenticity" in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or "direct" for having been highly refined by technical means in the studio. Gould likened his process to that of a film director—one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different. He went so far as to conduct an "experiment" with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points based on their relationship to music, but none successfully. While the conclusion was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".[36]
In a lecture and essay titled "Forgery and Imitation in the Creative Process", one of Gould's most significant texts,[37] he makes explicit his views on authenticity and creativity. Gould asks why the epoch in which a work is received influences its reception as "art", postulating a sonata he composes that sounds so much like Haydn that it is received as such. If, instead, the same sonata had been attributed to a somewhat earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of music history. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by Hans van Meegeren of new paintings attributed to Dutch Golden Age master Vermeer, before and after the forgery was known.
Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"[38]
Writings[link]
Gould said that if he had not been a musician, he would have been a writer. He expounded his criticism and philosophy of music and art in lectures, convocation speeches, periodicals, and radio and television documentaries for the Canadian Broadcasting Corporation. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen as much as "works" as off-the-cuff discussions. His writing style was highly articulate but sometimes florid, indulgent, or rhetorical. This is especially evident in those works in which he attempts humour or irony, which he did often.[fn 13]
In these he praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave insightful analyses of the music of Richard Strauss, Alban Berg and Anton Webern. Despite a certain affection for Dixieland jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized The Beatles for "bad voice leading"[fn 14]—while praising Petula Clark and Barbra Streisand. He shared a mutual admiration with jazz pianist Bill Evans, who made his seminal record Conversations with Myself using Gould's celebrated Steinway CD 318 piano. Gould believed that "the piano is a contrapuntal instrument," and his whole approach to music was, in fact, centered in the Baroque. Much of the homophony that followed he felt belongs to a less serious and less spiritual period of art.
"The Last Puritan"[link]
A 1962 quote is often used to summarize Gould's perspective on art: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."[39]
Gould referred to himself repeatedly as "the last puritan", a reference to philosopher George Santayana's novel of the same name. Weighing this statement against Gould's highly individualistic lifestyle and artistic vision leads to an apparent contradiction. He was progressive in many ways, promulgating the controversial atonal composers, and anticipating, through his deep involvement with the recording process, the vast changes that technology would have on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers:
He was progressive and anti-progressive at once, and likewise at once both a critic of the Zeitgeist and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.[40]
Eccentricities[link]
Gould was widely known for his unusual habits. He usually hummed while he played the piano, and his recording engineers had mixed results in how successfully they were able to exclude his voice from recordings. Gould claimed that his singing was subconscious and increased proportionately with the inability of the piano in question to realize the music as he intended. It is likely that this habit originated in Gould's having been taught by his mother to "sing everything that he played", as Kevin Bazzana puts it. This became "an unbreakable (and notorious) habit".[41] Some of Gould's recordings were severely criticised because of the background "vocalise". For example, a reviewer of his 1981 re-recording of the Goldberg Variations opined that many listeners would "find the groans and croons intolerable".[42] Gould was renowned for his peculiar body movements while playing and for his insistence on absolute control over every aspect of his playing environment. The temperature of the recording studio had to be exactly regulated. He invariably insisted that it be extremely warm. According to Friedrich, the air conditioning engineer had to work just as hard as the recording engineers.[43] The piano had to be set at a certain height and would be raised on wooden blocks if necessary.[44] A small rug would sometimes be required for his feet underneath the piano.[45] He had to sit fourteen inches above the floor and would play concerts only while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through.[46] His chair is so closely identified with him that it is shown in a place of honour in a glass case at the National Library of Canada.
Conductors responded diversely to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius."[47] Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him."[47] Ironically, Bernstein created a stir at the April 6, 1962 concert when, just before the New York Philharmonic was to perform the Brahms Piano Concerto No. 1 in D minor with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the boss – the soloist or the conductor? (audience laughter). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."[48] Specifically, he was referring to their rehearsals with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by Harold C. Schonberg, music critic for The New York Times, as an abdication of responsibility and an attack on Gould.[49] Plans for a studio recording of the performance came to nothing. The live radio broadcast (along with Bernstein's disclaimer) was subsequently released on CD.
Gould was averse to cold, and wore heavy clothing (including gloves), even in warm places. He was once arrested, presumably mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coat(s), warm hat, and mittens.[50] He also disliked social functions. He hated being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. On one visit to Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of the incident. He went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent.[51] He was known for cancelling performances at the last minute, which is why Bernstein's above-mentioned public disclaimer opens with, "Don't be frightened, Mr. Gould is here... will appear in a moment."
In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, or didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American critic "Theodore Slutz".[52] These facets of Gould, whether interpreted as neurosis or "play",[53] have provided ample material for psychobiography.
Fran's Restaurant in Toronto was a regular haunt of Gould's. A CBC profile noted, "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs."[54]
It has been debated whether or not Gould was autistic, or, more accurately, if his mind fell within the autism spectrum.[6] The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book, Glenn Gould: The Ecstasy and Tragedy of Genius.[55] It has been disputed by, among others, Kevin Bazzana.[citation needed]
Relationships[link]
Gould lived a private life: Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly."[56]
When Gould was in Los Angeles in 1956, he met Cornelia Foss and husband Lukas. Foss was an art instructor who had studied sculpture at the American Academy in Rome. Her husband worked for both the Buffalo Philharmonic Orchestra and the Brooklyn Philharmonic. After several years, Gould and Foss became lovers.[57] Foss left her husband in 1967 for Gould, taking her two children with her to Toronto. She purchased a house near Gould's 110 St. Clair Avenue West apartment. In 2007, Cornelia Foss finally admitted that she and Gould had had a love affair lasting several years.[57] According to Foss, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould. She describes a serious paranoid episode:
"It lasted several hours, and then I knew he was not just neurotic – there was more to it. I thought to myself, 'Good grief, am I going to bring up my children in this environment?' But I stayed four and a half years." Foss did not discuss details, but others close to Gould said he was convinced someone was trying to poison him and that others were spying on him.[57]
Health[link]
Gould suffered many pains and ailments, though he was something of a hypochondriac[58][fn 15] (admitting it himself on at least one occasion), and his autopsy revealed few underlying problems in areas that often troubled him.[fn 16] Early in his life, Gould suffered a spine injury. His physicians prescribed, usually independently, an assortment of analgesics, anxiolytics, and other drugs. Some speculate that his extensive use of prescription medications throughout his career had a deleterious effect on his health.
He was highly concerned about his health throughout his life, worrying about everything from high blood pressure (which in his later years he recorded in diary form) to the safety of his hands. Gould rarely shook hands with anyone and usually wore gloves.[fn 17][fn 18]
Death[link]
On September 27, 1982, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital and his condition rapidly deteriorated. By October 4, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support.[59] He is buried next to his parents in Toronto's Mount Pleasant Cemetery (section 38, Row 1088, Plot 1050). The first few measures of the Goldberg Variations are carved on his marker. According to the Glenn Gould Foundation, the cemetery staff often handle requests to locate his gravesite.[60]
Recordings[link]
Main article: List of recordings by Glenn Gould
Studio[link]
 |
The C major prelude from the first book of the WTC.
Compare the 1970 version from the "Complete Piano Sonatas" set (played first) and the 1958 interpretation (second).
The only organ recordings Gould made were the first nine parts of Bach's The Art of Fugue.
Gould recorded several Handel suites and a few pieces from J.S. Bach's WTC on a Wittmayer harpsichord. The somewhat muffled sound of this 20th-century instrument is very different from modern recordings that are made using copies of old harpsichords.
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In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. After his final public performance in 1964, he devoted his career solely to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although Gould's recording studio producers have testified that 'he needed splicing, less than most performers',[61] Gould used the process to give him total artistic control over the recording process. He recounted his recording of the A minor fugue from Book I of The Well-Tempered Clavier and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.[62]
Following his first recording (of Berg's Piano sonata, Op. 1, on the Canadian Hallmark label, c. 1952), the pianist's first breakthrough success, Bach: The Goldberg Variations, was recorded in 1955, at Columbia Records 30th Street Studios in New York City. Although there was initially some controversy at CBS as to whether this was the most appropriate piece to record, the finished product received phenomenal praise and was among the best-selling classical music albums of its time.[63] Gould became closely associated with the piece, playing it in full or in part at many of his recitals. Another version of the Goldberg Variations, recorded in 1981, would be among his last recordings, and one of only a few pieces he recorded twice in the studio. The 1981 recording was one of CBS Masterworks' first digital recordings. The first recording is highly energetic and often frenetic. The second, slower and more deliberate.[64][65] In the latter, Gould treats the aria and its 30 variations as one cohesive piece.[fn 19]
Gould revered Bach: "[he was] first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived".[66] He recorded most of Bach's other keyboard works, including the complete The Well-Tempered Clavier, Partitas, French Suites, English Suites, and keyboard concertos. For his only recording at the organ, he recorded about half of The Art of Fugue. He also recorded all five of Beethoven's piano concertos and 23 of the 32 piano sonatas.
Gould also recorded works by Brahms, Mozart, and many other prominent piano composers, though he was outspoken in his criticism of some of them. He was extremely critical of Frédéric Chopin. In a radio interview, when asked if he didn't find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment – maybe once a year or twice a year for myself. But it doesn't convince me." Although Gould recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them,[67] he claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early.[68] He was fond of many lesser-known composers, such as Orlando Gibbons, whose Anthems he had heard as a teenager,[69] and for whose music he felt a "spiritual attachment".[70] He recorded a number of Gibbons's keyboard works and called him his favourite composer,[71][72] despite his better-known admiration for the technical mastery of Bach.[fn 20] He made recordings of piano music by Jean Sibelius (the Sonatines and Kyllikki), Georges Bizet (the Variations Chromatiques de Concert and the Premier nocturne), Richard Strauss (the Piano Sonata, the Five Pieces, and Enoch Arden with Claude Rains), and Paul Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of the complete piano works Lieder by Arnold Schoenberg. The last thing Gould recorded as a session musician was Strauss: Piano Sonata, Op. 5. It was recorded between September 1 – 3, 1982[73] in New York City.
Collaborations[link]
The success of Gould's collaborations with other artists was to a degree dependent upon their receptiveness to his sometimes unconventional readings of the music. His television collaboration with Yehudi Menuhin in 1965, recording works by Bach, Beethoven and Schoenberg,Stegemann (1993b) was deemed a success because "... Menuhin was ready to embrace the new perspectives opened up by an unorthodox view ...".[74] In 1966, his collaboration with Elisabeth Schwarzkopf, however, recording Richard Strauss's Ophelia Lieder, Op. 67, was deemed an "outright fiasco".[74] Schwarzkopf believed in "total fidelity" to the score, but she also objected to the thermal conditions in the recording studio: "The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely...."[75]
Radio documentaries[link]
As the result of Gould's association with CBC Records, he made numerous television and radio programs for CBC Television and CBC Radio. Notable productions include his music-concrète Solitude Trilogy, which consists of The Idea of North, a meditation on Northern Canada and its people, The Latecomers about Newfoundland, and The Quiet in the Land, about Mennonites in Manitoba. All three use a radiophonic electronic-music technique that Gould called contrapuntal radio, in which several people are heard speaking at once—much like the voices in a fugue—manipulated through the use of tape. Gould's experience of driving across northern Ontario while listening to Top 40 radio in 1967 provided the inspiration for one of his most unusual CBC radio pieces, The Search for Petula Clark, a witty and eloquent dissertation on the recordings of the renowned British pop singer, who was then at the peak of her international success[76]
Arrangements and compositions[link]
Main article: List of compositions by Glenn Gould
Gould was not only a composer, but also a prolific arranger of orchestral repertoire for piano. His arrangements include his recorded Wagner and Ravel transcriptions, as well as the operas of Richard Strauss and the symphonies of Schubert and Bruckner,[3] which he played privately for pleasure.[fn 21]
As a teenager, Gould wrote chamber music and piano works in the style of the Second Viennese school of composition. His only significant work was the String Quartet, Op. 1, which he finished when he was in his 20s, and perhaps his cadenzas to Beethoven's Piano Concerto No. 1. Later works include the Lieberson Madrigal (SATB and piano), and So You Want to Write a Fugue? (SATB with piano or string quartet accompaniment). The majority of his work is published by Schott Music. The recording Glenn Gould: The Composer contains his original works.
The String Quartet Op. 1 (published in 1956 and recorded in 1960) had a mixed reception from critics. For example, the notices from the Christian Science Monitor and The Saturday Review were quite laudatory, while the response from the Montreal Star was less so.[77] There is little critical commentary on Gould's compositional work for the simple reason that there are few compositions. He did not proceed beyond Opus 1. Gould left many compositions unfinished.[78] He attributed his failure as a composer to his lack of a "personal voice".[79] See List of compositions by Glenn Gould for a complete list of works.
Conducting[link]
Towards the end of his life, Gould began conducting. He had earlier directed Bach's Brandenburg Concerto No. 5 and the cantata Widerstehe doch der Sünde from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound), and Gustav Mahler's Symphony No. 2 (the Urlicht section) in the 1960s. His last recording was as a conductor of Wagner's Siegfried Idyll in its original chamber music scoring. He intended to give up the piano at the age of 50, spending later years conducting, writing about music, and composing.[80]
Legacy and honours[link]
Gould is one of the most acclaimed 20th-century classical musicians. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while highly objectionable to others. Philosopher Mark Kingwell writes that "his influence is made inescapable. No performer after him can avoid the example he sets... Now, everyone must perform through him: he can be emulated or rejected, but he cannot be ignored."[81]
Gould left an extensive body of work beyond the keyboard. After his retirement from concert performance, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the electronic age on the consumption of media. (Gould grew up in Toronto at the same time that Canadian theorists Marshall McLuhan, Northrop Frye, and Harold Innis were making their mark on communications studies.)[82][83] Anthologies of his writing and letters have been published.[fn 22] Library and Archives Canada retains a significant portion of Gould's work called the The Glenn Gould Archive.
One of Gould's performances of the Prelude and Fugue in C major from Book II of The Well-Tempered Clavier was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc of recordings was placed on the spacecraft Voyager 1, which is now approaching interstellar space and is the farthest human-made object from Earth.[84]
Gould is a popular subject of biography and even critical analysis. Philosophers such as Giorgio Agamben and Mark Kingwell have interpreted Gould's life and ideas.[85] References to Gould and his work are plentiful in poetry, fiction, and the visual arts.[86] For example, François Girard's Genie Award winning 1993 film, Thirty Two Short Films About Glenn Gould.
The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him.
Glenn Gould Foundation[link]
Main article: The Glenn Gould Foundation
In Toronto in 1983, The Glenn Gould Foundation was established to honour Gould and preserve his memory. The Foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future." Among other activities, the foundation awards the Glenn Gould Prize every three years[87] to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of $50,000 for an original work by a Canadian artist.
Glenn Gould School[link]
Main article: The Glenn Gould School
The Royal Conservatory of Music in Toronto decided to adopt the name The Glenn Gould School in 1997, after its most famous alumnus.[88]
Glenn Gould: The Sounds of Genius[link]
To commemorate what would have been Gould's 75th birthday, the Canadian Museum of Civilization held an exhibition titled Glenn Gould: The Sounds of Genius. The multimedia exhibit was held in conjunction with Library and Archives Canada.[89] The exhibition opened September 28, 2007[90] and looked at five aspects of Gould: "The person," "The musician," "The broadcast personality and producer," "The writer and theorist, composer and conductor," and "The Sounds of Genius".[91] Curator Sam Cronk said "The primary purpose of the exhibition is to remind Canadians of the many facets of Gould’s musical genius."[90] John F. Burns of the The New York Times reported, in an interview with Herbert Kallmann, that the exhibit will omit many of Gould's eccentricities in favour of highlighting Gould’s talent. Of the numerous documents, there are essays, scripts, and music scores. The scores on display were used for some of his most important recordings, marked only for breaks between takes.[58] Peter Goddard of the Toronto Star says that the exhibit will give patrons a feeling of what it was like at Gould's home: "The cramped space conveys a sense of what his St. Clair Ave. apartment might have felt like, with his piano at the very centre of things, along with his low piano chair made by his father."[92]
Awards[link]
Glenn Gould received many honours before and after his death, although he personally claimed to despise competition in music.
Juno Awards[link]
The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. Gould won three awards out of his six nominations. However he only personally received one Juno. In 1983, he was posthumously inducted into the Canadian Music Hall of Fame.[93]
| Year | Award | Nominated artist and work | Result |
|---|---|---|---|
| 1979 | Best Classical Album of the Year | Himself and Roxolana Roslak for Hindemith: Das Marienleben | Won |
| 1981 | Best Classical Album of the Year | Himself for Bach Toccatas, Vol. 2 | Nominated |
| 1982 | Best Classical Album of the Year | Himself for Bach: Preludes. Fughettas & Fugues | Nominated |
| 1983 | Best Classical Album of the Year | Himself for Haydn: The Six Last Sonatas | Nominated |
| Himself for Bach: The Goldberg Variations | Won | ||
| 1984 | Best Classical Album of the Year | Himself for Brahms: Ballades Op. 10, Rhapsodies Op. 79 | Won |
Grammy Awards[link]
The Grammys are awarded annually by the National Academy of Recording Arts and Sciences. Gould won four awards but personally only received one.[94] In 1983, he was honoured posthumously, being inducted into the Grammy Hall of Fame for his 1955 recording (released in 1956) Bach: The Goldberg Variations.[95]
| Year | Award | Nominated artist and work | Result |
|---|---|---|---|
| 1973 | Best Album Notes – Classical | Himself for Hindemith: Sonatas for Piano (Complete) |
Won |
| 1982 | Best Classical Album | Himself and Samuel H. Carter (producer) for Bach: The Goldberg Variations |
Won |
| Best Instrumental Soloist Performance (without orchestra) |
Himself for Bach: The Goldberg Variations |
Won | |
| 1983 | Best Classical Performance – Instrumental Soloist or Soloists (without orchestra) |
Himself for Beethoven: Piano Sonatas Nos. 12 & 13 |
Won |
See also[link]
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- Glenn Gould Prize
- Music of Canada
- List of Canadian composers
- List of compositions by Glenn Gould
- List of recordings by Glenn Gould
References[link]
- Footnotes
- ^ Bazzana (2003, p. 27) states, "Gould's first name is frequently misspelled as "Glen" in documents (including official ones) dating back to the beginning of his life, and Gould himself used both spellings interchangeably throughout his life." Bazzana (2003, p. 24) further investigated the name-change records in Ontario's Office of the Registrar General and found only a record of his father Bert's name-change to Gould in 1979 (to be able to legally marry with that name); he concludes that the family's name-change was informal and "Gould was still legally 'Glenn Herbert Gold' when he died."
- ^ According to Bazzana (2003, p. 24), "[Gould's] birth certificate gave his name as 'Gold, Glenn Herbert.' The family name had always been Gold [...] All of the documents through 1938 that survive among Gould's papers give his surname as 'Gold,' but beginning at least as early as June 1939, the family name was almost always printed 'Gould' in newspapers, programs, and other sources; the last confirmed publication of 'Gold' is in the program for a church supper and concert on October 27, 1940. The whole family adopted the new surname."
- ^ Full circumstances of the name-change can be found in Bazzana (2003, pp. 24–26).
- ^ According to Bazzana (2003, p. 27), "At least as far back as the mid-eighteenth century, there were no Jews in this particular Gold lineage."
- ^ Friedrich (1990, p. 27) dates this incident on the basis of a discussion with Gould's father, who is cited by Friedrich as stating that it occurred "when the boy was about ten".
- ^ ATCM is Associate, Toronto Conservatory of Music. The Conservatory received it's royal charter in 1947 and became The Royal Conservatory of Music.
- ^ In their documentary film Glenn Gould: A Portrait (Till & Tovell 1985), Glenn Gould's father recalled that Glenn "would not come out [of his bedroom] until he memorized the whole music" [regarding one of Beethoven's piano concertos].
- ^ In outtakes of the Goldberg Variations, Gould describes his practising technique by composing a drill on Variation 11, remarking that he is "still sloppy" and with his usual humour that "a little practising is in order." He is also heard practising other parts of the Goldbergs.
- ^ Gould: "The piano was a means to an end for him, and the end was to approach Beethoven." See Tovell (1959) 07:40 minutes in.
- ^ During Gould's 1957 concert performances in Moscow, Vladimir Ashkenazy labelled him a phenomenon (Till & Tovell 1985).
- ^ Friedrich first states that Gould performed the Beethoven Piano Sonata No. 30 (Opus 109) Friedrich (1990, p. 108) but later states that he performed the Beethoven Piano Sonata No. 31 (Opus 110) Friedrich (1990, p. 354). Bazzana (2003, p. 229) cites Beethoven Piano Sonata No. 30 (Opus 109).
- ^ Originally published in Piano Quarterly in 1974. Reprinted and quoted in Kingwell (2009, p. 159) and Kieser (1993). See Album details at world catalogue.
- ^ These include his famous "self-interview", his book review of a biography written about him (in which he refers to himself in the third person)—not to mention the various appearances of his "alter egos" in print, radio, or TV, including an "extended and rather strained radio joke show", ("Critics Callout Corner" on the Silver Jubilee Album, 1980) which Kingwell (2009, p. 180) comments: "The humour is punishing... There can be no excuse for it, and the one clear lesson of the recording is that it could exist only because of the stature of its creator. Gould in effect called in twenty-five years of chits from Columbia when he got them to release this embarrassing piece of twaddle."
- ^ These comments can be found in essays in Gould (1987).
- ^ Bazzana (2003, pp. 352–368) In a section, quotes Gould: "They say I'm a hypochondriac, and, of course, I am."
- ^ Ostwald (1997, p. 329) specifies "No physical abnormalities were found in the kidneys, prostate, bones, joints, muscles, or other parts of the body that Glenn so often had complained about."
- ^ This is discussed and can be seen in the 1959 National Film Board of Canada documentary film On and Off the Record (Koenig & Kroitor 2004).
- ^ The claim that Gould "never shook hands" is exaggerated. Friedrich (1990, p. 267) quotes Timothy Findley: "Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff."
- ^ There are two other Gould recordings of the Goldberg Variations. One is a live recording from 1954 CBC Records (PSCD 2007); the other is live recorded in Moscow on May 7, 1957 and in Salzburg on August 25, 1959 (Sony SRCR 9500). It is part of the The Glenn Gould edition and has been re-released on CD on Sony Classical Records (SMK 52685).
- ^ Gould discusses this in the 1974 Bruno Monsaingeon film series Chemins de la Musique (Ways of the Music). His 24 part series features Gould in four of those parts: La Retraite (The Retreat), L'Alchimiste (The Alchemist), 1974, Partita No. 6 (Bach's Partia No 6).[1] The four parts on Gould were re-released in 2002 on DVD as Gould: the alchemist (Monsaingeon 2002).
- ^ The Schubert can be seen briefly in the film Hereafter (Monsaingeon 2006). The transcription of Bruckner's 8th symphony Gould alludes to in an article (Gould 1987) where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private.
- ^ See Gould (1999) for an example.
- Citations
- ^ Bazzana (2003, p. 21)
- ^ Ostwald (1997, p. 35)
- ^ a b c d e Tovell, Vincent (December 4, 1959). Gould in conversation with his friend Vincent Tovell (excerpt): A 26-year-old Gould talks about his fame (CBC Radio. Radio Show: Project '60). CBC Radio 1. archives.cbc.ca. http://ms.radio-canada.ca/archives_new/2002/en/wma/gould19501204er1.wma. Retrieved December 25, 2011.
- ^ Bazzana (2003, p. 30)
- ^ Bazzana (2003, p. 24)
- ^ a b Bazzana, Kevin; Beckwith, John & Payzant, Geoffrey. "The Canadian Encyclopedia". Glenn Gould. Toronto: The Historica Dominion Institute. OCLC 71490162. http://www.thecanadianencyclopedia.com. Retrieved December 19, 2011.
- ^ Hafner 2009, p. 19 [2]
- ^ Jorgensen, Birgitte (2010). "The Dogs of Pianist Glen Gould". Modern Dog. http://www.moderndogmagazine.com/articles/dogs-pianist-glen-gould/280. Retrieved December, 24 2011.
- ^ Ostwald (1997, p. 39)
- ^ Ostwald (1997, p. 40)
- ^ a b Friedrich (1990, p. 15)
- ^ Ostwald (1997, pp. 44–45)
- ^ Ostwald (1997, p. 48)
- ^ Payzant (1978, p. 2)
- ^ Beckwith, John. "Alberto Guerrero". The Encyclopedia of Music in Canada. The Historica Dominion Institute. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0001464. Retrieved December 25, 2011.
- ^ Ostwald (1997, p. 73)
- ^ Ostwald (1997, p. 71)
- ^ a b c "Glenn Gould". soundbug.com. Misja.com. http://soundbug.com/artist/2127. Retrieved December 25, 2011.
- ^ Friedrich (1990, p. 31)
- ^ a b Bazzana (2003, p. 76)
- ^ Dubal (1985, pp. 180–183)
- ^ Stegemann (1993a, p. 15)
- ^ "Glenn Gould, Biography". sonymasterworks.com. Sony BMG Masterworks. Archived from the original on February 10, 2008. http://web.archive.org/web/20080210175113/http://www.sonyclassical.com/artists/gould/bio.html. Retrieved March 12, 2009.
- ^ Host: Gordon Burwash (June 23, 1957). "Glenn Gould is a rising star » The Story". CBC Newsmagazine. .. Canadian Broadcasting Corporation. CBC Television. http://archives.cbc.ca/arts_entertainment/music/clips/1670/. Retrieved December 25, 2011.
- ^ Friedrich (1990, p. 147)
- ^ Friedrich (1990, p. 100)
- ^ Friedrich (1990, p. 32)
- ^ Friedrich (1990, p. 35)
- ^ Friedrich (1990, p. 36)
- ^ Friedrich (1990, p. 38)
- ^ Bazzana (2003, p. 163)
- ^ Kelly, Kevin (March 22, 1958). "Glenn Gould at Jordan Hall". The Boston Globe. www.bostonglobe.com (The New York Times Company). ISSN 0743-1791. OCLC 66652431.
- ^ Gould (1987)
- ^ Bazzana (2003, p. 229)
- ^ Bazzana (2003, pp. 232–233)
- ^ Kingwell (2009, pp. 158–159)
- ^ Gould (1999, p. 205) Editor's introduction to the essay.
- ^ Gould (1999, p. 208)
- ^ Kingwell (2009, p. 194)
- ^ Kingwell (2009, p. 166)
- ^ Bazzana (2003, p. 47)
- ^ Greenfield, Layton & March (1988, p. 44)
- ^ Friedrich (1990, p. 50)
- ^ Ostwald (1997, p. 18)
- ^ Friedrich (1990, p. 51)
- ^ Ostwald (1997, pp. 304–306)
- ^ a b Bazzana (2003, p. 158)
- ^ Announcer: James Fassett, Guest: Leonard Bernstein (April 25, 1962). "Leonard Bernstein and Glenn Gould don't see eye to eye". CBC Radio Special. .. New York. CBC Radio. CBC Radio 1. http://archives.cbc.ca/on_this_day/04/25/. Retrieved December 23, 2011.
- ^ Schonberg, Harold C. (April 7, 1962). "Music: Inner Voices of Glenn Gould; Pianist Plays Them in Addition to Brahms Bernstein Speech Hits at the Interpretation (article abstract)". The New York Times. nytimes.com (Arthur Ochs Sulzberger, Jr.): p. 17. ISSN 0362-4331. OCLC 1645522. http://select.nytimes.com/gst/abstract.html?res=FA0F1FFC395D117B93C5A9178FD85F468685F9. Retrieved December 23, 2011.
- ^ Friedrich (1990, p. 62)
- ^ "Musician's Medical Maladies". ahsl.arizona.edu. Arizona Health Sciences Library. Archived from the original on December 30, 2007. http://web.archive.org/web/20071230140202/http://www.ahsl.arizona.edu/about/ahslexhibits/musicianmedicalmaladies/musicians.cfm. Retrieved March 12, 2009.
- ^ Stegemann (1993a, p. 14)
- ^ Kingwell 2009, pp. 125–128 On "play" chapter 11.
- ^ Interviewer: Hugh Thomson (July 15, 1958). "Glenn Gould: Variations on an Artist » Gould on his eccentricities » Did you know?". Assignment. .. Toronto. CBC Radio. CBC Radio 1. http://archives.cbc.ca/IDC-1-68-320-1673/arts_entertainment/glenn_gould/. Retrieved March 12, 2009.
- ^ Ostwald (1997)
- ^ Bruno, Monsaingeon (1983). "Introduction to The Last Puritan". collectionscanada.gc.ca (Ottawa: Library and Archives Canada). http://www.collectionscanada.gc.ca/glenngould/028010-4020.15-e.html. Retrieved December 15, 2011.
- ^ a b c Clarkson, Michael (August 25, 2007). "The secret life of Glenn Gould". Toronto Star. www.thestar.com (Torstar Corporation). OCLC 679765547. http://www.thestar.com/article/249787. Retrieved May 29, 2009.
- ^ a b Burns, John F. (May 29, 1988). "OTTAWA; An Exhibition Of Glenn Gould Memorabilia Sheds A Little Light on A Musical Enigma". The New York Times. nytimes.com (Arthur Ochs Sulzberger, Jr.). ISSN 0362-4331. OCLC 1645522. http://www.nytimes.com/1988/05/29/arts/ottawa-exhibition-glenn-gould-memorabilia-sheds-little-light-musical-enigma.html?scp=1&sq=An%20Exhibition%20Of%20Glenn%20Gould%20Memorabilia%20Sheds%20A%20Little%20Light%20on%20A%20Musical%20Enigma&st=cse. Retrieved December 18, 2011.
- ^ Ostwald (1997, pp. 325–328)
- ^ "Glenn Gould Toronto Walk". glenngould.ca. Glenn Gould Foundation. http://glenngould.ca/glenn-gould-toronto-walk/. Retrieved December 23, 2011.
- ^ Bazzana (2003, p. 263)
- ^ Gould, Glenn (1966). "The Prospects of Recording – Resources – The Glenn Gould Archive". collectionscanada.gc.ca (Ottawa: Library and Archives Canada). http://www.collectionscanada.gc.ca/glenngould/028010-4020.01-e.html#d. Retrieved December 8, 2010.
- ^ Ostwald (1997, p. 119)
- ^ "The Variations of Glenn Gould: Legendary, Eccentric Pianist Launched His Career by Playing Bach". www.npr.org. National Public Radio. http://www.npr.org/templates/story/story.php?storyId=1967623. Retrieved December 24, 2011.
- ^ Tommasini, Anthony (September 1, 2002). "Two faces of a pianist who had many". The New York Times. nytimes.com (Arthur Ochs Sulzberger, Jr.) 151: p. AR20. ISSN 0362-4331. OCLC 1645522. http://www.nytimes.com/2002/09/01/arts/music-recordings-two-faces-of-a-pianist-who-had-many.html?pagewanted=2&src=pm. Retrieved December 22, 2011.
- ^ In "Bach the Nonconformist"; Roberts (ed.), 100
- ^ "Of Mozart and Related Matters. Glenn Gould in Conversation with Bruno Monsaingeon". The Piano Quarterly. www.pianoandkeyboard.com (San Anselmo: The String Letter Press): p. 33. Fall 1976. ISSN 0031-9554. Reprinted in 1990. See also Ostwald (1997, p. 249)
- ^ Ostwald (1997, p. 249)
- ^ Ostwald (1997, p. 257)
- ^ Ostwald (1997, pp. 256–257)
- ^ "Variations on Gould". cbc.ca/radio2. CBC Radio 2. http://www.cbc.ca/radio2/feature-gouldLibrary.html. Retrieved December 24, 2011.
- ^ Friedrich (1990, p. 141)
- ^ "Glenn Gould » The CBC Legacy » Timeline of a Musical Genius". cbc.ca/gould. Canadian Broadcasting Corporation. http://www.cbc.ca/gould/timeline/. Retrieved December 25, 2011.
- ^ a b Stegemann (1993b, p. 10)
- ^ Gould (1992, p. 12)
- ^ Announcer: Ken Haslam, Commentator: Glenn Gould (December 11, 1967). "Glenn Gould's fascination with Petula Clark (excerpt)". The Best of IDEAS. .. Toronto. 4:34 minutes in. CBC Radio. CBC Radio 1. http://archives.cbc.ca/arts_entertainment/music/clips/1708/. Retrieved December 17, 2011.
- ^ Friedrich (1990, pp. 165–166)
- ^ Friedrich (1990, p. 170)
- ^ Friedrich (1990, p. 172)
- ^ Friedrich (1990, p. 315)
- ^ Kingwell (2009, p. 59)
- ^ Kingwell (2009, p. xi) "Introduction" by John Ralston Saul
- ^ Kingwell (2009, pp. 34–35)
- ^ "Voyager – Music From Earth". voyager.jpl.nasa.gov. Jet Propulsion Laboratory. August 20, 1977. http://voyager.jpl.nasa.gov/spacecraft/music.html. Retrieved March 12, 2009.
- ^ Kingwell (2009, pp. 62 & 75)
- ^ Kingwell (2009, notes 3, 13, 18)
- ^ "Dr. José Antonio Abreu Awarded Coveted 2008 Glenn Gould Prize" (Press release). Aerial Communications Group. February 14, 2008. http://www.newswire.ca/en/story/377803/dr-jose-antonio-abreu-awarded-coveted-2008-glenn-gould-prize. Retrieved December 18, 2011.
- ^ "The Glenn Gould School » Key Facts and History". learning.rcmusic.ca. Royal Conservatory of Music. 1997. http://learning.rcmusic.ca/glenn-gould-school/about-glenn-gould-school/key-facts-and-history. Retrieved December 20, 2011.
- ^ "Glenn Gould: The Sounds of Genius » Credits". civilization.ca. Canadian Museum of Civilization. 2007. http://www.civilization.ca/cmc/exhibitions/cmc/gould/gould05e.shtml. Retrieved December 18, 2011.
- ^ a b Staff Report (May 15, 2007). "Home » KlassikNet: Classical Music » News » GLENN GOULD EXHIBITION SET TO OPEN THIS AUTUMN". culturekiosque.com. Euromedia Group. http://www.culturekiosque.com/klassik/news/glenn_gould.html. Retrieved December 18, 2011.
- ^ "Glenn Gould: The Sounds of Genius » The exhibition". civilization.ca. Canadian Museum of Civilization. 2007. http://www.civilization.ca/cmc/exhibitions/cmc/gould/gould01e.shtml. Retrieved December 18, 2011.
- ^ Goddard, Peter (February 16, 2008). "At the Galleries". Toronto Star. www.thestar.com (Torstar Corporation): Arts and Entertainment p. E05. OCLC 679765547.
- ^ "Juno Awards Database". junoawards.ca. Canadian Academy of Recording Arts and Sciences. http://junoawards.ca/awards/artist-summary/?artist_name=Glenn+Gould&submit=Search. Retrieved December 18, 2011.
- ^ "Home Past » Winners Search". www.grammy.org. National Academy of Recording Arts and Sciences. http://www.grammy.com/nominees/search?artist=Glenn+Gould&title=&year=All&genre=All. Retrieved December 18, 2011.
- ^ "Home » The Recording Academy » The GRAMMY Awards » GRAMMY Hall Of Fame". www.grammy.org. National Academy of Recording Arts and Sciences. http://www.grammy.org/recording-academy/awards/hall-of-fame#g. Retrieved December 19, 2011.
- Bibliography
- Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN 978-0-7710-1101-6. OCLC 52286240. http://books.google.ca/books?id=Fj_c-WF9sBIC&lpg=PP5&dq=Wondrous%20Strange%3A%20The%20Life%20and%20Art%20of%20Glenn%20Gould&pg=PP5#v=onepage&q&f=true.
- Dubal, David (1985). The World of the Concert Pianist. London: Gollancz. ISBN 978-0-575-03654-3. OCLC 12112836. http://books.google.com/?id=Sn2FQgAACAAJ&dq=The+World+of+the+Concert+Pianist.
- Friedrich, Otto (1990) [Reprint. Originally published: New York: Random House, 1989]. Glenn Gould: A Life and Variations. New York: Random House. ISBN 978-0-679-73207-5. OCLC 21445409. http://books.google.com/?id=ZJoQAQAAMAAJ&q=Glenn+Gould:+A+Life+and+Variations&dq=Glenn+Gould:+A+Life+and+Variations.
- Gould, Glenn (1987). Page, Tim. ed. The Glenn Gould Reader. Boston: Faber and Faber. ISBN 0-571-14852-2. OCLC 751249764. http://books.google.com/?id=r2qzQgAACAAJ&dq=0571148522.
- Greenfield, Edward; Layton, Robert & March, Ivan (1988). The New Penguin Guide to Compact Discs and Cassettes. London: Penguin Books. ISBN 978-0-14-046829-8. OCLC 18804114. http://books.google.ca/books?id=JSk_s3YqJbQC&dq=editions:z5HZMH8UU4UC.
- Hafner, Katie (2009). A Romance on Three Legs : Glenn Gould's Obsessive Quest for the Perfect Piano. Toronto: McClelland & Stewart. ISBN 978-0-7710-3762-7. OCLC 0771037627. http://books.google.ca/books?id=m25e7t4efpgC&lpg=PP1&dq=A%20Romance%20on%20Three%20Legs&pg=PP1#v=onepage&q&f=true.
- Kingwell, Mark (2009). Extraordinary Canadians Glenn Gould. Toronto: Penguin Canada. ISBN 978-0-670-06850-0. OCLC 460273223. http://books.google.com/?id=Er3x5AALbMkC&printsec=frontcover&dq=Glenn+Gould.+Extraordinary+Canadians#v=onepage&q=Glenn%20Gould.%20Extraordinary%20Canadians&f=false.
- Ostwald, Peter F. (1997). Glenn Gould: The Ecstasy and Tragedy of Genius. New York: W. W. Norton & Company. ISBN 978-0-393-04077-7. OCLC 35586754. http://books.google.ca/books?id=V0YCotrV9NAC&lpg=PP1&dq=Glenn%20Gould%3A%20The%20Ecstasy%20and%20Tragedy%20of%20Genius&pg=PP1#v=onepage&q&f=true.
- Payzant, Geoffrey (1978). Glenn Gould: Music & Mind. Toronto; London: Van Nostrand Reinhold. ISBN 0-442-29802-1. OCLC 16422990. http://books.google.ca/books?id=YPCcXr7tFVoC&lpg=PP1&dq=Glenn%20Gould%3A%20Music%20%26%20Mind&pg=PP1#v=onepage&q&f=true.
- Multimedia sources
- Gould, Glenn (1992). The Glenn Gould Edition Richard Strauss: Ophelia-Lieder: Three Songs after Shakespeare, Op. 67; Enoch Arden: A Melodrama for Piano after Tennyson, Op.38; Piano Sonata, Op. 5; Five Piano Pieces, Op. 3 (Booklet). Glenn Gould & Claude Rains & Elisabeth Schwarzkopf. New York City: Sony Classical Records. ASIN B0000028O4. SM2K 52657. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-27T08%3A15%3A46Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=12663008&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng.
- Kieser, Karen (1993) (in English). Glenn Gould Bach: original CBC broadcasts (Booklet). Glenn Gould. Toronto: CBC Records. OCLC 609984589. PSCD 2005. Lay summary.
- Koenig, Wolf & Kroitor, Roman (2004). Glenn Gould: on and off the record (DVD release. Originally produced in 1959 for the television program Documentary '60). Montreal: National Film Board of Canada; Image Entertainment (Distributor). OCLC 130741039. UPC 014381206920. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T05%3A52%3A07Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=30899711&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng. Retrieved December 23, 2011. Lay summary.
- Monsaingeon, Bruno (2002) (in English (interviews), French (commentary). Sub-titles: German, English, French, Spanish). Glenn Gould: the alchemist (DVD re-release of the four parts featuring Gould. His 24 part 1974 series was titled Chemins de la Musique.). ORTF; EMI Classics (Distributor). OCLC 52719241. UPC 724349012899. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T04%3A18%3A53Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=28403434&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng. Retrieved December 23, 2011. Lay summary.
- Stegemann, Michael (1993a). Bach: Partitas BWV 825–830; Preludes and Fugues (Booklet). Glenn Gould. Sony Classical Records. OCLC 222101706. SM2K 52597.
- Till, Eric & Tovell, Vincent (1985). Evans, Wayne. ed. Glenn Gould: A Portrait (VHS Videotape released October 22, 1991). West Long Branch: CBC Enterprises; Kultur International Films (Distributor). OCLC 22897163. UPC 032031118836. http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T01%3A27%3A55Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=23396582&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng. Retrieved December 23, 2011. Lay summary.
Further reading[link]
- Cott, Jonathan (2005). Conversations with Glenn Gould. University of Chicago Press. ISBN 0-226-11623-9. OCLC 475021622. http://books.google.ca/books?id=dKCdsOq3X4sC&lpg=PP1&dq=Glenn%20Gould%3A&pg=PP1#v=onepage&q&f=true.
- Konieczny, Vladimir (2008). Glenn Gould: a musical force. Toronto: Dundurn Press. ISBN 978-1-55002-819-5. OCLC 471481579. http://books.google.ca/books?id=EL3ik0iCXjEC&lpg=PP1&dq=Glenn%20Gould%3A&pg=PP1#v=onepage&q&f=true.
External links[link]
 |
Wikiquote has a collection of quotations related to: Glenn Gould |
- Media related to Glenn Gould at Wikimedia Commons
- Glenn Gould Official website
- Glenn Gould recordings owned by Sony Music
- The Glenn Gould Foundation including the GlennGould Magazine
- The Glenn Gould Archive from Library and Archives Canada
- Glenn Gould: Variations on an Artist from the CBC Digital Archives
- Glenn Gould at Société Radio-Canada from the CBC French language Digital Archives
- Glenn Gould pictures and writings by film director Bruno Monsaingeon
- Glenn Gould collected news and commentary at The New York Times
- Works by or about Glenn Gould in libraries (WorldCat catalog)
- Video
- Bach & Friends: Glenn Gould (2010) from director Michael Lawrence
- Genius Within: The Inner Life of Glenn Gould (2010) from co-directors Peter Raymont and Michèle Hozer
- Glenn Gould on Myspace
| Persondata | |
|---|---|
| Name | Gould, Glenn Herbert |
| Alternative names | Gold, Glenn Herbert (legal); Gould, Glen |
| Short description | Canadian classical pianist |
| Date of birth | September 25, 1932 |
| Place of birth | Toronto, Ontario, Canada |
| Date of death | October 4, 1982 |
| Place of death | Toronto, Ontario, Canada |
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Karajan, or Caragiani, Karagianni, Karayiannis, Karagianis, is a surname. Notable persons with that surname include:
- Eftychia Karagianni, Greek water polo player
- Georgios Karayiannis, Greek Army officer
- Herbert von Karajan (1908–1989), Austrian conductor, great-grandson of Theodor von Karajan
- Ioan D. Caragiani, Romanian folklorist
- Martha Karagianni, Greek actress
- Maurine Karagianis, Canadian politician
- Pete Karagianis, American chess player
- Vaios Karagiannis (born 1968), Greek football player
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4:15
Bizet, Habanera (from Carmen), James Edwards, guitar
smalin
Bizet, Habanera (from Carmen), James Edwards, guitar
The Habanera from George Bizet's opera Carmen, arranged for guitar and performed by James Edwards,accompanied by a scrolling bar-graph score. FAQ Q: Where can I get the sheet music for this piece? A: This arrangement and others are available in this publication: www.melbay.com Q: Who is playing this piece? A: James Edwards; here's a link to his web site: jamesedwardsguitar.com Q: Where can I hear more of James Edwards' playing? A: This recording is from his album "Guitar Arias: Operatic Melodies for Solo Guitar"; it and many of his other recordings can be purchased here: jamesedwardsguitar.com Q: Is there a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: www.musanim.com There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: www.classicalarchives.com Q: Could you please do a MAM video of ______? A: First, check my "to do" list: www.musanim.com ... If the piece isn't listed, read the "Could you please do a MAM video of ______?" item on my main FAQ: www.musanim.com ... and if you think I'd consider doing it, email me (stephen at musanim dot com). .
3:33
"Prelude" from Carmen by Georges Bizet
bubblykings
"Prelude" from Carmen by Georges Bizet
There are three sections to this Prelude (overture): 1. The bull-fighting theme (section A) 2. Swaggering Toreador song (section B) 3. Motive of Fate (section C) The structure of the piece is ABAC. The motive of fate represents the fate of Carmen at the end of the opera. London Symphony Orchestra Claudio Abbado
3:58
Bizet [Carmen] Act.1 (1) Overture-Myung-Whun Chung, Orange Festival
VIVUSMUSICA
Bizet [Carmen] Act.1 (1) Overture-Myung-Whun Chung, Orange Festival
G. Bizet [Carmen] Act.1 (1) Overture == Orchestre Philharmonique de Radio France conducted by MYUNG-WHUN CHUNG == 2005 Orange Festival (les Chorégies d'Orange 2005)
1:10
Carmen (Bizet) The Royal Opera
RoyalOperaHouse
Carmen (Bizet) The Royal Opera
Discover more: www.roh.org.uk The Spanish heat and gypsy passion of Carmen take to the stage as The Royal Opera presents the first revival of Francesca Zambello's vibrant production with Tanya McCallin's richly coloured designs. It's a great stage recreation of the sun-drenched and sultry world of 19th-century Spain, with its ranks of soldiers and crowds of peasants, its gypsies and bullfighters, its spectacle and its deadly, white-hot emotions. Star tenor Marcelo Álvarez is Don José, the soldier she forces to murderous jealousy over her new affair with the bullfighter Escamillo, played by Kyle Ketelsen. It's a perfect cast to bring alive the sexy solos, rousing choruses, impassioned arias and Spanish dances of one of the most famously tuneful of all operas and one of the most enduringly popular works in the entire repertory. A Royal Opera House production
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