1838 - 1875
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.
Life
Early years
Family background and childhood
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. 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
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.
Conservatoire
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".
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]
η συνέχεια:
http://en.wikipedia.org/wiki/Georges_Bizet
*Christos Sipsis
Teresa BERGANZA sings Habanera from Carmen
http://www.youtube.com/watch?v=oby-hCgZLJc&feature=youtu.be
Nietzsche on the Music of Bizet "Der Fall Wagner" (The Case of Wagner) - Turin Letter of May, 1888 ridendo dicere severum... Yesterday--would you believe it?--I heard Bizet's masterwork for the 20th time. Again, I attended with a gentle devotion; I did not run away, again. This victory over my impatience surprises me. How fulfilling is such a work! One turns into a masterpiece with it.--And, indeed, I appeared to myself, every thime that I heard Carmen, to be more of a philosopher, a better philosopher than I usually appear to myself: having become so patient, so happy, so East-Indian, so sedentary... To sit for five hours: the first stept to sanctity!--May I say that Bize'ts orchestral sound is the only one I can still endure? That other orchestral sound that is now en vogue, the Wagnerian, brutal, artificial, and "innocent" at the same time and, with it, speaking to the senses of the modern soul simultaneously--how disadvantageous is this Wagnerian orchestral sound to me! I call it Scirocco. I break out into unpleasant perspiration. My good weather is over.
Maria Callas - Habanera - Carmen - Bizet - french subtitles
http://www.youtube.com/watch?v=3rjOrOt6wFw&feature=youtu.be
This music appears perfect to me. It approaches lightly, flexibly, courteously. It is pleasant, it does not perspire. "That which is good is light, everything divine walks on tender feet": the first premise of my aesthetic. This music is vicious, refined, fatalistic: with it, it stays popular--it has the refinement of a race, not that of an individual. It is rich. It is precise. It builds, it organizes, accomplishes its goal: with it, it represents the opposite to the musical polypus, to the "infinite melody"! Has one ever heard more painful, tragic accents on stage?...And how these are achieved! Without grimaces! Without counterfeiting! Without the lie of the grand style!--Finally: This music takes the listener for an intelligent person, for a musician, himself--and in this, it is the opposite to Wagner who, whatever else he was, he was, in any case, the world's most impolite genius (Wagner takes us quasi "as if"--he says one thing so often until one despairs--until one believes it).
Elina Garanca "Habanera" Carmen
http://www.youtube.com/watch?v=jGFUKsv1epk&feature=youtu.be
To repeat it: I become a better man when Bizet speaks to me, also a better musician, a better listener. Can one even still listen better?--I even bury my ears beneath this music, I hear its origin. It appears to me that I am experiencing its creation--I tremble in the face of dangers that accompany some kind of risks, I am delighted with happenstances that Bizet is innocent of.--And, how curious!, basically I do not think of it, or I do not know how much I think of it...since quite different thoughts race through my head at that time... Has one noticed that music frees the mind? lends wings to thoughts? that one becomes a philosopher all the more, the more one becomes a musician?--The grey sky of abstraction appears to be filled with lightning; the light is strong enough for the filigree of things; the great problems are close enough so that one can almost touch them; the world from the vantage point of a mountain top. --I just define the philosophical pathos.--And unexpectedly, answers fall into my lap, a minor hailstorm of ice and wisdom, of solved problems. ... Where am I?--Bizet makes me fertile. Everything good makes me fertile. I have no other gratitude,--I also have no other proof for that which is good.
Carmen - Habanera
http://www.youtube.com/watch?v=px36njyCnVM&feature=youtu.be
Agnes Baltsa as Carmen
*Magda Riga
Georges Bizet: L'Arlésienne-Suite - Farandole
http://www.youtube.com/watch?v=Ibd1-ooK5as
*Μαρία Κλωνάρη
Maria Callas.Carmen. G. Bizet (1962)
http://www.youtube.com/watch?v=-OHBFbNkQEU&feature=share
Georges Bizet - "Les Toreadors" from Carmen Suite No. 1
http://www.youtube.com/watch?v=4DNGMoMNLRY&feature=youtu.be
Enrico Caruso: Bizet: Les Pêcheurs De Perles - Mi Par D'Udir Ancor
http://www.youtube.com/watch?v=NxhFZK3F81Y&feature=youtu.be
Maria Callas - Bizet - Pearlfishers - Me voila seule
http://www.youtube.com/watch?v=_tb6BxAwb2k&feature=youtu.be
Maria Callas, Habanera from Bizet Opera
http://www.youtube.com/watch?v=5DlLVkfqK_o&feature=share
*Christos Karagoygas
George Bizet: Carmen Suite #1 - Les Toreadors
http://www.youtube.com/watch?v=8eS8vtnhMbI&feature=share
*Abakis Christos
Bizet - Symphony in C Major
http://www.youtube.com/watch?v=Y3Dv5aPZrAQ
*Vasilis Vasileiadis
Carmen fantasy for violin and orchestra. Sergei Nakariakov ( trumpet )
http://www.youtube.com/watch?v=iNcUteud0co&feature=share
*Mina Dakou
....but if you must die,
if the dreaded word is written by fate,
try again twenty times,
the pitiless card......always...death....
Rise Stevens as Carmen "Cards Scene"
http://www.youtube.com/watch?v=N_ctb1e5W1U&feature=youtu.be
text:
http://www.aria-database.com/translations/carmen06_en.txt
Elena Obraztsova "Card Scene" Carmen
http://www.youtube.com/watch?v=zVAWS_ABffw&feature=youtu.be
Bizet's Carmen, Card-cutting scene with Waltraud Meier
http://www.youtube.com/watch?v=FyDn93OnN4A&feature=youtu.be
*Christos Karypiadis
Bizet / Herbert von Karajan, 1958: L'Arlesienne Suite No. 2 - Intermezzo, Minuet, Farandole
http://www.youtube.com/watch?v=k7YfUCAaFEE
*Nikos Papakostas
Luciano Pavarotti - Montreal - 1978 - Agnus Dei (Georges Bizet)
http://www.youtube.com/watch?v=GwXy-J0j-j4&feature=share
H σύνθεση αυτή εδώ του G.Bizet είναι απο μια σουίτα του την L Arlesienne υπάρχει σαν ξεχωριστό έργο. Ο Συνθέτης λοιπόν πάνω σε αυτήν την μουσική που βασίζεται στην σουίτα έβαλε το θρησκευτικό Κείμενο Αμνέ του Θεού...ο αίρων τας αμαρτίας του κόσμου-Agnus Dei-
*Gianni Christopoulos
Georges Bizet: Carmen. Avec La Garde Montante (Acto I)
http://www.youtube.com/watch?feature=player_embedded&v=GChAY9PJZcc
*Stratis Vagis
Giuseppe di Stefano "Je crois entendre encore" Les pecheurs de perles 1945
http://www.youtube.com/watch?v=f667ibKJrD8&feature=share
*Eddy Kouyioumdjian
Bizet - Symphony in C Major
http://www.youtube.com/watch?v=Y3Dv5aPZrAQ&feature=share
Bizet - Je crois entendre encore - Alain Vanzo
http://www.youtube.com/watch?v=5MjnIcxCz8c&feature=share
*Christina Liakou
Georges Bizet "The Pearl Fishers"
http://www.youtube.com/watch?v=3GPeK6Qo4dk&feature=relmfu
*Aglaia Raptou
Bizet - L'Arlésienne Suite n°2 I. Pastorale http://www.youtube.com/watch?v=HAorq3xOfjA&sns=fb
*Argiro Ioannidou
Björling - "Je crois entendre encore" - Pêcheurs de perles. http://www.youtube.com/watch?v=_QFgPtmM7Ps&feature=share
*De Profundis Ya
Carlos Kleiber: Carmen (Bizet) Vienna Opera, 1978 (complete)
http://www.youtube.com/watch?v=SaypJ4kmYCE&feature=share
Bizet Carmen Zurich Kasarova, Kaufmann
http://www.youtube.com/watch?v=8suKKwyR_60&feature=related
ολοκληρωμένη
Η «Κάρμεν» αγαπήθηκε για το ελεύθερο, ανεξάρτητο πνεύμα της, την βαθιά ερωτική φύση της και την τρομακτική αλήθεια της, την οποία ενστερνίζεται ακόμα κι όταν έρχεται αντιμέτωπη με τον θάνατο. Μια τσιγγάνα που τυλίγει πούρα στην βιοτεχνία της πόλης, έχει αναστατώσει τους άντρες και τους χειρίζεται με μοναδική ικανότητα. Ατίθαση, βίαιη κι ηδονική, η νεαρή εργάτρια συγκρούεται με μια συνάδελφό της και τη μαχαιρώνει.
Ο Δον Χοσέ, ένας νεαρός στρατιώτης της φρουράς διατάσσεται να την φυλακίσει αλλά εκείνη τον γοητεύει και καταφέρνει με μια ερωτική υπόσχεση να τον πείσει να την αφήσει ελεύθερη. Για χάρη της θα παρατήσει την Μικαέλα, την αρραβωνιαστικιά του και ευνοούμενη της μητέρας του αλλά και την καριέρα του στο στρατό και θα καταλήξει με τους λαθρέμπορους στα βουνά. Όταν ο Τορεαδόρ εμφανίζεται στην πόλη και βλέπει την Κάρμεν, εκείνη τον ερωτεύεται κι αποφασίζει να εγκαταλείψει τον Χοσέ για χάρη του. Όμως ο ερωτευμένος άντρας της στήνει καρτέρι και τυφλωμένος από τη ζήλεια του, την σκοτώνει.
απόσπασμα:
Κριτικες θεατρικων παραστασεων: «Κάρμεν» - Σκηνική σύνθεση βασισμένη στην όπερα του Μπιζέ και στη νουβέλα του Μεριμέ
http://kritikestheatrikwnparastasewn.blogspot.gr/2010/07/blog-post.html
[PART 1] Bizet: Carmen 1964 (Maria Callas & Nicolai Gedda) [COMPLETE OPERA] http://www.youtube.com/watch?v=h-vF6d6u4k8&feature=share
[PART 2] Bizet: Carmen 1964 (Maria Callas & Nicolai Gedda) [COMPLETE OPERA]http://www.youtube.com/watch?v=WkUd6jUQhG0
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.
Life
Early years
Family background and childhood
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. 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
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.
Conservatoire
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".
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]
η συνέχεια:
http://en.wikipedia.org/wiki/Georges_Bizet
Επιλογή έργων
από μέλη της ομάδας
"Ακούτε
Κλασική Μουσική; Εγώ ακούω."
*Christos Sipsis
Teresa BERGANZA sings Habanera from Carmen
http://www.youtube.com/watch?v=oby-hCgZLJc&feature=youtu.be
Nietzsche on the Music of Bizet "Der Fall Wagner" (The Case of Wagner) - Turin Letter of May, 1888 ridendo dicere severum... Yesterday--would you believe it?--I heard Bizet's masterwork for the 20th time. Again, I attended with a gentle devotion; I did not run away, again. This victory over my impatience surprises me. How fulfilling is such a work! One turns into a masterpiece with it.--And, indeed, I appeared to myself, every thime that I heard Carmen, to be more of a philosopher, a better philosopher than I usually appear to myself: having become so patient, so happy, so East-Indian, so sedentary... To sit for five hours: the first stept to sanctity!--May I say that Bize'ts orchestral sound is the only one I can still endure? That other orchestral sound that is now en vogue, the Wagnerian, brutal, artificial, and "innocent" at the same time and, with it, speaking to the senses of the modern soul simultaneously--how disadvantageous is this Wagnerian orchestral sound to me! I call it Scirocco. I break out into unpleasant perspiration. My good weather is over.
Maria Callas - Habanera - Carmen - Bizet - french subtitles
http://www.youtube.com/watch?v=3rjOrOt6wFw&feature=youtu.be
This music appears perfect to me. It approaches lightly, flexibly, courteously. It is pleasant, it does not perspire. "That which is good is light, everything divine walks on tender feet": the first premise of my aesthetic. This music is vicious, refined, fatalistic: with it, it stays popular--it has the refinement of a race, not that of an individual. It is rich. It is precise. It builds, it organizes, accomplishes its goal: with it, it represents the opposite to the musical polypus, to the "infinite melody"! Has one ever heard more painful, tragic accents on stage?...And how these are achieved! Without grimaces! Without counterfeiting! Without the lie of the grand style!--Finally: This music takes the listener for an intelligent person, for a musician, himself--and in this, it is the opposite to Wagner who, whatever else he was, he was, in any case, the world's most impolite genius (Wagner takes us quasi "as if"--he says one thing so often until one despairs--until one believes it).
Elina Garanca "Habanera" Carmen
http://www.youtube.com/watch?v=jGFUKsv1epk&feature=youtu.be
To repeat it: I become a better man when Bizet speaks to me, also a better musician, a better listener. Can one even still listen better?--I even bury my ears beneath this music, I hear its origin. It appears to me that I am experiencing its creation--I tremble in the face of dangers that accompany some kind of risks, I am delighted with happenstances that Bizet is innocent of.--And, how curious!, basically I do not think of it, or I do not know how much I think of it...since quite different thoughts race through my head at that time... Has one noticed that music frees the mind? lends wings to thoughts? that one becomes a philosopher all the more, the more one becomes a musician?--The grey sky of abstraction appears to be filled with lightning; the light is strong enough for the filigree of things; the great problems are close enough so that one can almost touch them; the world from the vantage point of a mountain top. --I just define the philosophical pathos.--And unexpectedly, answers fall into my lap, a minor hailstorm of ice and wisdom, of solved problems. ... Where am I?--Bizet makes me fertile. Everything good makes me fertile. I have no other gratitude,--I also have no other proof for that which is good.
Carmen - Habanera
http://www.youtube.com/watch?v=px36njyCnVM&feature=youtu.be
Agnes Baltsa as Carmen
*Magda Riga
Georges Bizet: L'Arlésienne-Suite - Farandole
http://www.youtube.com/watch?v=Ibd1-ooK5as
*Μαρία Κλωνάρη
Maria Callas.Carmen. G. Bizet (1962)
http://www.youtube.com/watch?v=-OHBFbNkQEU&feature=share
Georges Bizet - "Les Toreadors" from Carmen Suite No. 1
http://www.youtube.com/watch?v=4DNGMoMNLRY&feature=youtu.be
Enrico Caruso: Bizet: Les Pêcheurs De Perles - Mi Par D'Udir Ancor
http://www.youtube.com/watch?v=NxhFZK3F81Y&feature=youtu.be
Maria Callas - Bizet - Pearlfishers - Me voila seule
http://www.youtube.com/watch?v=_tb6BxAwb2k&feature=youtu.be
Maria Callas, Habanera from Bizet Opera
http://www.youtube.com/watch?v=5DlLVkfqK_o&feature=share
*Christos Karagoygas
George Bizet: Carmen Suite #1 - Les Toreadors
http://www.youtube.com/watch?v=8eS8vtnhMbI&feature=share
*Abakis Christos
Bizet - Symphony in C Major
http://www.youtube.com/watch?v=Y3Dv5aPZrAQ
*Vasilis Vasileiadis
Carmen fantasy for violin and orchestra. Sergei Nakariakov ( trumpet )
http://www.youtube.com/watch?v=iNcUteud0co&feature=share
*Mina Dakou
....but if you must die,
if the dreaded word is written by fate,
try again twenty times,
the pitiless card......always...death....
Rise Stevens as Carmen "Cards Scene"
http://www.youtube.com/watch?v=N_ctb1e5W1U&feature=youtu.be
text:
http://www.aria-database.com/translations/carmen06_en.txt
Elena Obraztsova "Card Scene" Carmen
http://www.youtube.com/watch?v=zVAWS_ABffw&feature=youtu.be
Bizet's Carmen, Card-cutting scene with Waltraud Meier
http://www.youtube.com/watch?v=FyDn93OnN4A&feature=youtu.be
*Christos Karypiadis
Bizet / Herbert von Karajan, 1958: L'Arlesienne Suite No. 2 - Intermezzo, Minuet, Farandole
http://www.youtube.com/watch?v=k7YfUCAaFEE
*Nikos Papakostas
Luciano Pavarotti - Montreal - 1978 - Agnus Dei (Georges Bizet)
http://www.youtube.com/watch?v=GwXy-J0j-j4&feature=share
H σύνθεση αυτή εδώ του G.Bizet είναι απο μια σουίτα του την L Arlesienne υπάρχει σαν ξεχωριστό έργο. Ο Συνθέτης λοιπόν πάνω σε αυτήν την μουσική που βασίζεται στην σουίτα έβαλε το θρησκευτικό Κείμενο Αμνέ του Θεού...ο αίρων τας αμαρτίας του κόσμου-Agnus Dei-
*Gianni Christopoulos
Georges Bizet: Carmen. Avec La Garde Montante (Acto I)
http://www.youtube.com/watch?feature=player_embedded&v=GChAY9PJZcc
*Stratis Vagis
Giuseppe di Stefano "Je crois entendre encore" Les pecheurs de perles 1945
http://www.youtube.com/watch?v=f667ibKJrD8&feature=share
*Eddy Kouyioumdjian
Bizet - Symphony in C Major
http://www.youtube.com/watch?v=Y3Dv5aPZrAQ&feature=share
Bizet - Je crois entendre encore - Alain Vanzo
http://www.youtube.com/watch?v=5MjnIcxCz8c&feature=share
*Christina Liakou
Georges Bizet "The Pearl Fishers"
http://www.youtube.com/watch?v=3GPeK6Qo4dk&feature=relmfu
*Aglaia Raptou
Bizet - L'Arlésienne Suite n°2 I. Pastorale http://www.youtube.com/watch?v=HAorq3xOfjA&sns=fb
*Argiro Ioannidou
Björling - "Je crois entendre encore" - Pêcheurs de perles. http://www.youtube.com/watch?v=_QFgPtmM7Ps&feature=share
*De Profundis Ya
Carlos Kleiber: Carmen (Bizet) Vienna Opera, 1978 (complete)
http://www.youtube.com/watch?v=SaypJ4kmYCE&feature=share
Bizet Carmen Zurich Kasarova, Kaufmann
http://www.youtube.com/watch?v=8suKKwyR_60&feature=related
ολοκληρωμένη
Η «Κάρμεν» αγαπήθηκε για το ελεύθερο, ανεξάρτητο πνεύμα της, την βαθιά ερωτική φύση της και την τρομακτική αλήθεια της, την οποία ενστερνίζεται ακόμα κι όταν έρχεται αντιμέτωπη με τον θάνατο. Μια τσιγγάνα που τυλίγει πούρα στην βιοτεχνία της πόλης, έχει αναστατώσει τους άντρες και τους χειρίζεται με μοναδική ικανότητα. Ατίθαση, βίαιη κι ηδονική, η νεαρή εργάτρια συγκρούεται με μια συνάδελφό της και τη μαχαιρώνει.
Ο Δον Χοσέ, ένας νεαρός στρατιώτης της φρουράς διατάσσεται να την φυλακίσει αλλά εκείνη τον γοητεύει και καταφέρνει με μια ερωτική υπόσχεση να τον πείσει να την αφήσει ελεύθερη. Για χάρη της θα παρατήσει την Μικαέλα, την αρραβωνιαστικιά του και ευνοούμενη της μητέρας του αλλά και την καριέρα του στο στρατό και θα καταλήξει με τους λαθρέμπορους στα βουνά. Όταν ο Τορεαδόρ εμφανίζεται στην πόλη και βλέπει την Κάρμεν, εκείνη τον ερωτεύεται κι αποφασίζει να εγκαταλείψει τον Χοσέ για χάρη του. Όμως ο ερωτευμένος άντρας της στήνει καρτέρι και τυφλωμένος από τη ζήλεια του, την σκοτώνει.
απόσπασμα:
Κριτικες θεατρικων παραστασεων: «Κάρμεν» - Σκηνική σύνθεση βασισμένη στην όπερα του Μπιζέ και στη νουβέλα του Μεριμέ
http://kritikestheatrikwnparastasewn.blogspot.gr/2010/07/blog-post.html
[PART 1] Bizet: Carmen 1964 (Maria Callas & Nicolai Gedda) [COMPLETE OPERA] http://www.youtube.com/watch?v=h-vF6d6u4k8&feature=share
[PART 2] Bizet: Carmen 1964 (Maria Callas & Nicolai Gedda) [COMPLETE OPERA]http://www.youtube.com/watch?v=WkUd6jUQhG0
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