Abstract
In a genre in which violent passion, sexual transgression, and the victimization of women tend to be the rule, Georges Bizet’s Carmen still manages to be exceptional a century and a quarter after its controversial premiere in Paris at the Opéra-Comique on March 3, 1875. Few would have expected, and perhaps least of all Bizet, who died exactly three months later, before his masterpiece had achieved wide acclaim, that Carmen would practically become synonymous with French opera and occupy the unshakable place in the canon that it has enjoyed now for over a century. Carmens lack of success at its premiere (or “failure,” according to many) cannot be attributed to any single factor, but certainly two in particular may be singled out: the newness of the music, which many critics qualified as “Wagnerian” (a term perhaps best understood as indicating Bizet’s defiance of the traditions of the opéra comique, which was considered a French national genre); and the “scabrous” subject, drawn from one of the best-known works of Prosper Mérimée. Bizet’s heroine, although a rather tempered version of her counterpart in the Mérimée novella, is a study in transgression. Indeed, her every dimension is placed under the sign of the other: female; doubly foreign and racially other, as a gypsy in Andalusia; working class (she works in the tobacco factory at the beginning of the opera); sexually dissident in relation to the bourgeois mores of the day; and, finally, an outlaw (she and her friends run contraband). And so she remains, defiantly, to the end.
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Notes
Victor Hugo, preface to the original edition, Les Orientales, ed. Pierre Albouy, Oeuvres poétiques, 3 vols. (Paris: Gallimard, 1964), 1:580.
For feminist criticism, see Susan McClary, Feminist Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), 56–65
McClary, Georges Bizet: Carmen, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1992)
McClary, “Structures of Identity and Difference in Bizet’s Carmen,” The Work of Opera: Genre, Nationhood, and Sexual Difference, ed. Richard Dellamora and Daniel Fischlin (New York: Columbia University Press, 1997), 115–29
Nelly Furman, “The Languages of Love in Carmen,” Reading Opera, ed. Arthur Groos and Roger Parker (Princeton: Princeton University Press, 1988), 168–83
Catherine Clément, L’Opéra ou la défaite des femmes (Paris: Grasset, 1979), 94–104.
A.W. Raitt, Prosper Mérimée (New York: Scribner’s, 1970), 37–44.
See also [Auguste Poulet-Malassis,] Le Portrait de Prosper Mérimée tour à tour en femme et en homme (Paris: J. Baur, 1876).
These five “letters from abroad” have been published with four other personal letters in Prosper Mérimée, Lettres d’Espagne, ed. Gérard Chaliand (n.p.: Editions Complexe, 1989).
Prosper Mérimée, Carmen, ed. Maurice Parturier, Romans et Nouvelles, 2 vols. (Paris: Gamier, 1967), 2:345, hereafter cited as Carmen.
For a psychoanalytic interpretation of Carmen, see Jacques Chabot, L’autre moi: Fantasmes et fantastique dans les Nouvelles de Mérimée (Aix-en-Provence: Edisud, 1983):189–212.
Letter from Autun, dated August 15 [1834], to Hippolyte Royer-Collard (Prosper Mérimée, Correspondance générale, ed. Maurice Parturier et al., 17 vols. [vols. 1–6, Paris: Le Divan, 1941–52; vols. 7–17, Toulouse: Privat, 1953–64], 1:313), hereafter cited as CG.
Edward Said, Orientalism (New York: Vintage, 1979), 188.
Ronald Hyam, “Empire and Sexual Opportunity,” Journal of Imperial and Commonwealth History 14 (1986): 34–89.
Pommier points to numerous textual echoes in the tale of works by Lesage, Prévost, Chateaubriand, Hugo, Musset, and especially Théophile Gautier, in addition to Mérimée’s own writings (Jean Pommier, “Notes sur Carmen,” Bulletin de la Faculté des lettres de Strasbourg 8.1 [nov. 1929]: 14–19; 8.2 [déc. 1929]: 51–57; 8.4 [fév. 1930]: 140– 45; 8.6 [avril 1930]: 209–16, esp. 210–16).
It was on this occasion that Mérimée of fered to Mme de Lesseps a water-color he had done of Carmen and Don José, although this identification is perhaps erroneous. The Bibliothèque de l’Opéra possesses what appears to be a colored engraving based on the original watercolor, which is reproduced in Henry Malherbe, Carmen (Paris: Albin Michel, 1951).
See, for example, David Mickelsen, “Travel, Transgression, and Possession in Mérimée’s Carmen” Romanic Review 87 (1996): 329–44.
Daniel Guichard, “Prosper Mérimée: ‘Carmen’ (chapitre III),” L’Ecole des lettres (second cycle) 15 (15 juin 1986): 25–37; for the analysis in question, 32.
See the entry on Auber’s Manon Lescaut in the New Grove Dictionary of Opera, ed. Stanley Sadie, 4 vols. (London: Macmillan, 1994).
Rémy Stricker, Georges Bizet (Paris: Gallimard, 1999), 87
Mina Curtiss, Bizet and His Work (New York: Knopf, 1958), 355.
Albert Vizentini, “Les jeunes premières du jour,” L’Eclair (December 8, 1867).
Paul Mahalin, Les Jolies Actrices de Paris, first series (Paris: Tresse, 1868–78), 31.
Among the more favorable reviews, in addition to the of t-cited one by Théodore de Banville (National, March 8, 1875)
the reviews by Armand Gouzien (Evénement, March 5, 1875)
Pierre Véron (Charivari, March 6, 1875)
Victorin Joncières (Liberté, March 8, 1875)
Ernest Reyer (Journal des débats, March 14, 1875).
Michel Parouty, L’Opéra Comique (Paris: ASA, 1998), 77–78.
The critic Jules Guillemot noted in his review that not since 1873 had the Parisian public been able to enjoy the creation of a new full-length work at the Opéra-Comique and that on that occasion they had entered the theatre under Thiers’s government and left under Mac-Mahon’s (Le Soleil, March 6, 1875).
Emma Calvé, Sous tous les ciels j’ai chanté (Paris: Plon, 1940), 90–91.
See the review of an 1894 performance at Covent Garden, reprinted in Shaw’s Music: The Complete Musical Criticism of Bernard Shaw, ed. Dan H. Lawrence, 3 vols., second revised edition (London: Bodley Head, 1989), 3:224.
Daniel-Rops, “Générales parisiennes,” L’Echo Liberté de Lyon, April 11, 1959.
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© 2000 Claire Sponsler and Xiaomei Chen
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Clark, R.L.A. (2000). South of North: Carmen and French Nationalisms. In: Sponsler, C., Chen, X. (eds) East of West. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-349-62624-3_11
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