Bizet's Carmen

Watch this performance (the Met 1987), follow the score (Norton scores) for Act I Scene 4 and 5.

The full score is here.

1. Read your textbook pp352-354. What two literary themes ("isms") current in the late 19th Century does this opera represent? What are some other operas based on similar themes? What is "Carmen" about? What are Bizet's life dates?

Exoticism: eg Turandot, Madama Butterfly by Puccini, Aida by Verdi, Salome by R. Strauss
Realism: eg La Traviata by Verdi, La Boheme by PucciniCarmen's plot here
Bizet lived from 1838-1875.

Follow the score and listen to the two scenes. (starts p49 of the full score linked above)

2. How is the excited atmosphere created in the orchestral introduction before the tenors enter? (refer to at least THREE concepts)

Pitch: Chromatic ascending melody in violins bar 18-20
Use of a pedal note G (dominant pedal) - forms a dissonance with chords above and prolongs cadence to tonic
Gradually ascending pitch range in melody, forming a wide range overall by the end
Duration: Crossrhythm (displaced accent in four note fragment in violins at bar 16-17)
Implied acceleration by shorter and shorter repeated rhythmic patterns: begins with a bar long rhythm (with hemiola), then half a bar, back to a bar, then 4 quavers, then 3 quavers
Rhythmic ostinato (marchlike rhythm) bar 11 - q-ss-q-q-q-q
Texture: At first separate rhythms between violins and lower parts, then join in rhythmic unison at climax - steadily thickening texture as more instruments join in from bar 11

3. What keys does the whole of scene 4 move through? Look at all modulations, not just the ones with key signature changes.

Tenors: "La Cloche": C, Em, Ab, (Db), C
Basses "Voyez": E
Sopranos: "Dans l'air": E - Ab - C#m, Eb, E
Basses "Mais nous ne voyons pas..." Fm
Carmen's recit: Fm, (Db) (Gm) Dm

Note the number of tertiary modulations (by third) and distant keys - never relative minor or dominant (characteristic of Romantic harmony)

4. Discuss the use of pitch and structure in the tenors' melody at "La cloche a sonne'".

Pitch: Wide range used (D-high Ab): the tessitura (vocal register) gradually ascends until the climax, then subsides back down.
The melody moves mainly by step, but is often decorated with chromatic notes (passing notes, neighbour notes, escape and appoggiaturas), especially at "brunes cigarieres" where the A is decorated either side with chromatic notes Bb and G#. Although it's mostly stepwise movement, there is a characteristically Romantic leap of an ascending 6th at "nous venons"... and some triadic movements in the last two phrases.
The melody quickly modulates through keys a third away: Em, then a climax on the top Ab at the modulation to Ab, then back to C.
The text is mainly set syllabically, but there is one small melisma ("murmuRANT")
Melodic structure:
The phrase lengths change: initially pairs of 2 bar phrases (antecedent consequent) but then two 4 bar phrases are used to build up to the climax.
Each pair of phrases has the same rhythm, and sometimes as well sequence is used (1st two phrases - ascending sequence; and last two phrases a descending sequence).

5. Discuss the use of texture and articulation in the sopranos' section from "Dans l'air..."

Texture: The two soprano parts begin in imitation (non-strict - each imitation slightly altered intervallically (not a canon)). They then come together in rhythmic unison (parallel thirds and then sixths) at "Monte, monte...". The same pattern is followed in the following melodic section: imitation, then coming together in parallel thirds and sixths at "Cela...". From "Leurs transports..." they begin a question and answer exchange: each time the soprano 1 melody is answered by the s2 "C'est fumee". The imitation returns, and is extended, then a longer climactic section in rhythmic unison finishes the piece - with the 2 parts dividing into 5 vocal parts in the final chord.
The accompaniment changes throughout the piece: starting with semiquaver broken chords and a simple bass, changing to staccato chords in rhythmic unison with the melody at "le doux parler", and doubling the melody in the climax with treble instruments with a more active arpeggiated bass.
Articulation: There are many contrasts between staccato and legato vocal articulation (eg leurs transports staccato answered by legato "c'est fumee"). In this middle section the orchestra also plays staccato, in contrast to legato in other sections.


6. What device is the bass of the Habanera based on?
Bass ostinato (you could also say rhythmic ostinato, or pedal note (D))

7. Discuss how Carmen's character is expressed through the use of pitch (melody, harmony, tonality) in her entire aria.

Chromatic descent in the melody and glissandos, portamentos expresses her seductive character.
The change from minor to the parallel major expresses her changeability.
Countermelody over chorus at "L'amour" is more free and improvisatory.
Climax and improvisation on top F# (prends garde) expresses her passionate character.
Simple harmonies used (despite chromatic melody) express rustic, folklike character.