Carmen Suites No. 1 and No. 2

Carmen Suite No. 1 and No. 2

Composer: Georges Bizet (arranged by Ernest Guiraud)

Date of publication: 1882 and 1887 respectively

Arranged posthumously by Ernest Guiraud, Bizet's Carmen Suites No. 1 and 2 are compilations of his 4 act opera comique's theatrical programme music . Due to the opera comique's style of alternating dialogue and musical numbers, Carmen's music became a pivotal part of conveying its overall story, especially during dances, hence the demand for a proper suite.

Carmen is centered around its namesake protagonist and her seduction of Don Jose, a Spanish soldier. The plot follows Carmen as she sets absurd demands for Don Jose who tries desperately to win her over. This eventually leads to the soldier's demise, climaxing when Carmen falls for the Matador Escamillo, throwing away Jose's ring. Furious, Jose rashly — and regretfully — stabs her to death.

Fun Fact: Bizet died 3 months after the premiere of his Carmen opera on March 3, 1875. Laying 6 feet under, he thought it was a failure, due to the public's initial criticism and apathy towards the opera. Little did he know that it would become his most celebrated work and a staple in opera repertoire.

Movements:

Carmen Suite No. 1:

I. Prélude - The Prélude sets an overarching mood to the entire play, establishing a recurring, ominous motif to signify the play's dramatic atmosphere and hinting at the play's eventual tragedy.

II. Aragonaise - The Aragonaise is an arrangement of the musical numbers that serve as the interlude before Act IV where a dramatic fanfare begins the movement to set the tone for Act IV's setting at the Bull Fight. Afterwards, pizzicato in the strings section is employed to mimic two commonly used instruments at Spanish gathers, the guitar and the castanet.

III. Intermezzo - Situated in the intermission before Act III, the Intermezzo creates a delicate and tender tension with a solo harp and flute as Carmen, Jose, and the smugglers approach their mountain base.

IV. Séguedille - The Séguedille is a waltz that takes place in Act I, with a singing trumpet line that represents Carmen's song of dancing through the night with her lover.

V. Les Dragons d'Alcala - Taking place before Act II, Les Dragons d'Alcala establishes Jose's backstory, with an intense, militant, and orderly atmosphere. (It also features the greatest bassoon solo known to mankind)

VI. Les Toreadors - Les Toreadors aptly embodies the climax of the entire opera through an increasingly intense fanfare in Act IV and literally translating to "The Bullfighters". An image of the "dance" between a Matador with his Muleta and a bull is vividly portrayed.

Carmen Suite No. 2:

I. Marche des Contrebandiers- Beginning in Act III, the first movement accompanies the smugglers in their march via a repetitive melody passed along the orchestra.

II. Habanera - Habanera is employed in Act I to paint Carmen's image: a cunning, beautiful maiden who sings a seductive aria, played by strings and then the woodwinds.

III. Nocturne - In Act III, Micaela's gentle and kind nature and her attempt to rescue Jose from Carmen is portrayed through an accompaniment of a warm orchestra and is juxtaposed with the Carmen's Aria in the violins.

IV. Chanson du Toreador - Chanson du Toreador breaks out with a brilliant fanfare, embodying the strong Escamillo via the trumpets in Act II, who steals Carmen away from Jose.

V. La Garde Montante - At the opening of the play, Garde Montante opens with a strong trumpet flourish, symbolizing the children on the streets playing, with the woodwinds imitating their shrieks.

VI. Danse Bohème- Situated in Act II, Danse Bohème depicts the gypsy dances of Carmen's companions through a flute duet that flows into the woodwind section