CARMEN, an opera comique in four acts by Georges Bizet (libretto by Meilhac and Halivy, founded on a tale by Prosper Men mee) first produced at Paris on 3 March 1875. Not only Bizet's masterpiece, but the greatest opera that has come out of France, was not at first a success, and the coolness of its reception is generally believed to have hastened the composer's death, which occurred three months later. The story of the beautiful Spanish gypsy, flirtatious and fickle, cruelly oblivious to the ruin she spreads, until her career is tragically ended by Don Jose, one of her lovers, is familiar to every opera-goer. There is no more popular song in the modern repertory than that of the Toreador with its graphic portrayal of the character of Esca millo, the bull-fighter. In the Habanera, sung by Carmen in the first act, use is made of an old Spanish song; but except in that instance, the music is all and not the least note worthy fact is its convincing Spanish color, as realistic and as warm as a Sorolla painting. The rhythmic lilt of the Seguidilla, with which Carmen subjugates Don Jose, and of her dance with castanets in the second act, is not easily forgotten. Indeed, the whole score is a mine
of rhythm of inexhaustible variety. The ro mantic charm of Michaela's aria in the third act is so compelling as easily to overcome the nat ural reluctance of the most celebrated prima donna to taking second place. While the Wag nerian influence is in a general sense present in the orchestral portion of Carmen, harmonic ally and rhythmically it is Bizet alone; and his originality and dramatic power as displayed in this work (think of the eloquent Fate motif) suggest that he might have risen to the great est heights had he lived beyond the short 37 years of life permitted to him. It was Nietzsche who said: "Bizet was the last genius to discover a new beauty.— Bizet discovered new lands — the Southern lands of music.' Carmen has always enlisted the powers of great dramatic singers. The original was Mme. Galli-Marie. Minnie Hauck introduced the role in London and New York. But the great est of all Carmens was Emma Calve, who made her American debut in 1893. Her sensa tional performance was long before the public in this country and will not soon be forgotten.