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Johann Strauss, Jr. Robert Schumann. Ludwig van Beethoven. Nicolai Rimsky-Korsakov. Igor Stravinsky.

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    Rachmaninov's manuscript is dated A group of soldiers relaxes in the square, waiting for the changing of the guard and commenting on the passers-by "Sur la place, chacun passe". She declines, saying she will return later. Carmen enters and sings her provocative habanera on the untameable nature of love "L'amour est un oiseau rebelle".

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    Zuniga, the officer of the guard, learns that Carmen has attacked a woman with a knife. When challenged, Carmen answers with mocking defiance "Tra la la Two months have passed. Invited inside, he introduces himself with the " Toreador Song " "Votre toast, je peux vous le rendre" and sets his sights on Carmen, who brushes him aside. Lillas Pastia hustles the crowds and the soldiers away. Carmen treats him to a private exotic dance "Je vais danser en votre honneur La la la" , but her song is joined by a distant bugle call from the barracks.

    Unconvinced, Carmen demands he show his love by leaving with her. The women depart to suborn the customs officers who are watching the locality. As Escamillo leaves he invites everyone to his next bullfight in Seville. As he departs, vowing he will return, Escamillo is heard in the distance, singing the toreador's song.


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    Voici la quadrille! Escamillo enters with Carmen, and they express their mutual love "Si tu m'aimes, Carmen". C'est moi! While he pleads vainly for her to return to him, cheers are heard from the arena. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. With rehearsals due to begin in October , Bizet began composing in or around January of that year, and by the summer had completed the music for the first act and perhaps sketched more.

    Furthermore, the gypsies would be presented as comic characters, and Carmen's death would be overshadowed at the end by "triumphal processions, ballets and joyous fanfares". De Leuven reluctantly agreed, but his continuing hostility towards the project led to his resignation from the theatre early in After the various delays, Bizet appears to have resumed work on Carmen early in He completed the draft of the composition—1, pages of music—in the summer, which he spent at the artists' colony at Bougival , just outside Paris.

    He was pleased with the result, informing a friend: "I have written a work that is all clarity and vivacity, full of colour and melody".

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    There is no definitive edition, and there are differences among musicologists about which version represents the composer's true intentions. He also provided a new opening line for the "Seguidilla" in act 1. They are more akin to the verismo style that would find fuller expression in the works of Puccini. Dean describes him in act 3 as a trapped animal who refuses to leave his cage even when the door is opened for him, ravaged by a mix of conscience, jealousy and despair. In the final act his music assumes a grimness and purposefulness that reflects his new fatalism: "He will make one more appeal; if Carmen refuses, he knows what to do".

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    Carmen herself, says Dean, is a new type of operatic heroine representing a new kind of love, not the innocent kind associated with the "spotless soprano" school, but something altogether more vital and dangerous. Her capriciousness, fearlessness and love of freedom are all musically represented: "She is redeemed from any suspicion of vulgarity by her qualities of courage and fatalism so vividly realised in the music". Schonberg likens Carmen to "a female Don Giovanni. She would rather die than be false to herself".

    This has deterred some of opera's most distinguished exponents; Maria Callas , though she recorded the part, never performed it on stage. Macdonald suggests that outside the French repertoire, Richard Strauss 's Salome and Alban Berg 's Lulu "may be seen as distant degenerate descendants of Bizet's temptress". Bizet was reportedly contemptuous of the music that he wrote for Escamillo: "Well, they asked for ordure, and they've got it", he is said to have remarked about the toreador's song—but, as Dean comments, "the triteness lies in the character, not in the music".