The Diva's Opera

Tosca

Giacomo Puccini

High Notes

Tosca is the most widely performed opera in the world.  It was also one of Callas' most perfomed roles.  Despite the fact that it was not her most frequently performed role, it was her best performed role.  Though I have recommended three recordings, there is no need to read past the first.  Everybody in the civilized world agrees that this 1953 recording conducted by Sabatini is the only recording of Tosca worth purchasing.  Tosca is the diva's opera and Callas is the diva's diva.  

 
Melodramma in three acts, 2 hours
Composed from 1896 to 1899
Set to a libretto by Giuseppe Giacosa and Luigi Illica, after Victorien Sardou's 1887 play, La Tosca
First performed in Rome, Italy, Teatro Constanzi, on 14 January, 1900.

The cast at the premiere included Hariclea Darclee (Tosca), Emilio de Marchi (Cavaradossi) and Eugenio Giraldoni (Scarpia).

Principle Roles

• Floria Tosca, a celebrated singer and prima donna.....soprano
• Mario Cavaradossi, a painter and Tosca's lover.....tenor
• Baron Scarpia, Police chief of Rome.....baritone
• Cesare Angelotti, former Consul of the Roman republic turned fugitive rebel and political prisoner.....bass
• Spoletta, police agent and Scarpia's henchman.....tenor
• Sacristan.....bass-baritone

The Story

Angelotti is hiding in a private chapel in the church of San Andrea della Valle. Cavaradossi is working on a painting of Mary Magdalene inspired by Tosca. The sacristan complains to Angelotti about the trouble his presence is bringing. When the sacristan leaves, Angelotti tells Cavaradossi that he has escaped from Castel Sant'Angelo prison. When Tosca enters, Angelotti hides. Tosca and Cavaradossi plan to meet after her performance that evening. The church begins to fill up for a service commemorating a supposed victory against Napoleon. Baron Scarpia and his men search the church for signs of Angelotti. He suspects Cavaradossi is an accomplice. Scarpia orders his men to follow Tosca after the Te Deum that ends the service. The next day, Scarpia is enjoying the performance Tosca is giving in honor of Queen Caroline, which can be seen from his apartment in the Farnese Palace. After the performance, Scarpia's men bring Tosca to his apartment. Cavaradossi has been arrested and Tosca is tortured for information. Tosca reveals Angelotti's hiding place and Cavaradossi is condemned to death by firing squad. Tosca is offered Cavaradossi's life if she will perform sexual favors for Scarpia. She agrees and Scarpia writes out an order to cancel Cavaradossi's execution. As he begins to come on to Tosca, she stabs him. The next morning, Tosca meets with Cavaradossi to tell him the good news and her plans for skipping town after he is released. However, Scarpia's order was never received by the firing squad and Cavaradossi is killed. As Tosca realizes he is dead, Scarpia's men approach. They have found Scarpia's body and know Tosca is his murderer. As they draw near, she leaps off of the Castel Sant'Angelo to her death.

Notable Incipits

• "Recondita armonia" (Cavaradossi)
• "Mia gelosa" (Tosca & Cavaradossi)
• "Ha piu forte sapore" (Scarpia)
• "Vissi d'arte" (Tosca)
• "E lucevan le stelle" (Cavaradossi)
• "O dolci mani" (Tosca & Cavaradossi)

Recommended Recordings

• Callas (Tosca), Di Stefano (Cavaradossi), Gobbi (Scarpia)
• Freni (Tosca), Pavarotti (Cavaradossi), Milnes (Scarpia)
• Scotto (Tosca), Domingo (Cavaradossi), Bruson (Scarpia)

Upcoming Performances

• November 2008-April 2009 - Stockholm (Royal)
• November 2008-May 2009 - Vienna (Staatsoper)
• November 2009-June 2009 - Prague (Statni)
• December 2008 - Budapest (Staatsoper)
• December 2009 - Vienna (Volk)
• December 2008 & January 2009 - Helsinki (Opera)
• January 2009 - Frankfurt (Oper)
• January & February 2009 - San Diego (Opera)
• January-May 2009 - Moscow (Bolshoi)
• January-June 2009 - Berlin (Deutsch)
• March 2009 - Hamburg (Staatsoper)
• April 2009 - Zurich (Oper)
• May & June 2009 - Paris (Opera)
• June 2009 - San Francisco
• July & August 2009 - Rome (Opera)

The Bohemian Life

La Boheme

Giacomo Puccini

High Notes

Callas never performed the role of Mimi on stage, but she did make a recording of this extremely popular opera.  Boheme is full of catchy melodies that are familiar to many people, whether they love opera or not.  It would be hard to mention high notes and not mention Rodolfo's cavatina "Che gelida mannina."  Originally written with a D flat, the aria features a high C for the tenor singing the role.  Rodolfo sings this note again when he shares it with Mimi at the end of the love duet, "O soave fanciulla", which closes the first act.  Mimi's cavatina, "Mi chiamano Mimi," features only a high A.  Her farewell in Act 3, "Donde lieta usci," demands only a half step higher (B flat).  The real high notes belong to Musetta, who receives second billing among the women in the opera.  Her waltz, "Quando m'en vo," has three high Bs and is followed by a comic section that requires a good amount of squealing.  The soprano performing the role of Musetta has great fun during that section.  Callas and Freni are equally good Mimis, but Moffo is the only choice for Musetta.   

Opera in four acts, 1 & 3/4 hours
Composed from 1893 to 1895
Set to a libretto by Giuseppe Giacosa and Luigi Illica after episodes from Henry Murger's 1845 play Scenes de la vie de boheme
First performed in Turin, Italy, Teatro Regio, on 1 February, 1896.

The cast at the premier included Cesira Farrani (Mimi), Evan Gorga (Rodolfo), Camilla Pasini (Musetta), Antonio Pini-Corsi (Schaunard), and Michele Mazzini (Colline).

Principle Roles

• Mimi, a poor seamstress.....soprano
• Rodolfo, a poet.....tenor
• Musetta, a singer and Marcello's mistress.....soprano
• Schaunard, a musician.....baritone
• Colline, a philosopher.....bass
• Marcello, a painter.....baritone
• Parpignol, a toy vendor.....tenor
• Benoit, landlord of the artists.....bass

The Story

Rodolfo, Schaunard, Colline and Marcello are living together in an attic apartment in the Latin quarter of Paris. They are all poor. When Schaunard comes into some money on Christmas Eve, they decide to go out for dinner. Rodolfo is delayed and the other three go on ahead of him. While Rodolfo is alone, he meets Mimi, who is looking for a light for her candle. They fall in love. Rodolfo takes Mimi to the restaurant, the Cafe Momus, and introduces her to his roommates. Musetta is also at the restaurant. Musetta abandons the older man she is with to join Marcello. The group leaves, stiffing Musetta's older suitor with the bill. Time passes. Mimi and Rodolfo have been living together, but they fight because of Rodolfo's jealousy. Rodolfo plans to leave Mimi. More time passes. Musetta brings the now very ill Mimi to the attic apartment. In vain, the artist try to comfort her. In the end, she succumbs to the tuberculosis that has been plaguing her.

Notable Incipits

• "Che gelida manina" (Rodolfo)
• "Mi chiamano Mimi" (Mimi)
• "O soave fanciulla" (Mimi & Rodolfo)
• "Quando m'en vo" (Musetta)
• "Addio. Donde lieta usci" (Mimi)
• "O Mimi, tu piu non torni" (Rodolfo & Marcello)
• "Vecchia zimarra" (Colline)

Recommended Recordings

• Callas (Mimi), Di Stefano (Rodolfo), Moffo (Musetta)
• Freni (Mimi), Gedda (Rodolfo), Adani (Musetta)
• Freni (Mimi), Pavarotti (Rodolfo), Harwood (Musetta)

Upcoming Performances

• November & December 2009 - San Francisco
• November & December 2009 - Stockholm (Royal)
• November 2008-January 2009 - Berlin (Komische)
• November 2008-May 2009 - Prague (Statni)
• December 2008-January 2009 - Berlin (Deutsche)
• December 2008-January 2009 - Budapest (Staatsoper)
• December 2008-January 2009 - New York (Metropolitan)
• December 2008-March 2009 - Vienna (Staatsoper)
• December 2008-May 2009 - Munich (Staatsoper)
• January & February 2009 - Hamburg (Staatsoper)
• February 2009 - Dallas
• February 2009 - Lisbon
• February 2009 - Zurich (Oper)
• February & March 2009 - London (English National Opera)
• March & April 2009 - Frankfurt (Oper)
• March & April 2009 - Pittsburgh (Opera)
• April & May 2009 - Vienna (Volk)
• May 2009 - Sacremento (Opera)
• August-Ocober 2009 - Buenos Aires (Colon)

Memoirs of a Geisha

Madama Butterfly

Giacomo Puccini

High Notes

Callas performed the role of Butterfly, but not as frequently as most of her repertoire.  This is not the case for most sopranos.  Butterfly is the most frequently performed role in the United States.  Butterfly's "Un bel di" is the most popular piece.  The aria, which has an Asian flair that is characteristic of the opera itself, ends with a triumphant repetition of B flats

Tragedia giapponese (Japanese tragedy) in two or three acts, 2 hours
Composed from 1902 to 1903
Set to a libretto by Giuseppe Giacosa and Luigi Illica, after David Belasco's 1900 play Madame Butterfly, itself based on John Luther Long's short story, which was partly based Pierre Loti's tale Madame Chrysantheme
First performed in Milan, Italy, Teatro alla Scala, on 17 February, 1904.

The cast at the premiere included Rosina Storchio (Butterfly), Giovanni Zenatello (Pinkerton) and Giuseppe de Luca (Sharpless).

Principle Roles

• Cio-Cio-San (Madama Butterfly), a geisha.....soprano
• B. F. Pinkerton, Lieutenant in the United States Navy.....tenor
• Suzuki, Cio-Cio-San's maidservant.....mezzo-soprano
• Sharpless, United States consul in Nagasaki.....baritone
• Goro, a marriage broker.....tenor
• Kate Pinkerton, Pinkerton's American wife.....mezzo-soprano

The Story

Goro shows Pinkerton the house in which he will be living after his marriage to Cio-Cio-San. Pinkerton tells Sharpless, who has joined Pinkerton, that the house is on a long lease that can be terminated at a month's notice. Pinkerton compares the lease to his upcoming marriage since he has no intention of spending his life with Cio-Cio-San. Cio-Cio-San arrives with her family and the two are wed. The celebrations are interuppted when The Bonze, Cio-Cio-San's uncle, curses Cio-Cio-San for forsaking the religion of her home and converting to Christianity. As the guests leave, Cio-Cio-San is left alone with a man for the first time. Three years into the future and Cio-Cio-San is patienltly awaiting the return of Pinkerton, who has yet to learn of their son. Pinkerton's return is proceeded by a letter that Pinkerton has sent to sharpless to explain his current situation. Pinkerton arrives in Nagasaki with Kate, his new American wife. Upon learning this, Cio-Cio-San stabs herself with the same knife her father had used when ordered to commit suicide by the emperor.

Notable Incipits

• "Dovunque al mondo" (Pinkerton)
• "Vieni la sera" (Butterfly & Pinkerton)
• "Un bel di vedremo" (Butterfly)
• "Che tua madre dovra" (Butterfly)
• "Scuoti quella fronda di ciliego" (Butterfly & Suzuki)
• Coro a bocca chiusa (Humming Chorus)
• "Addio, fiorito asil" (Pinkerton & Sharpless)
• "Tu? tu? tu? tu? Piccolo Iddio!" (Butterfly)

Recommended Recordings

• Callas (Butterlfy), Gedda (Pinkerton), Danielli (Suzuki)
• Freni (Butterfly), Carreras (Pinkerton), Berganza (Suzuki)
• Scotto (Butterfly), Bergonzi (Pinkerton), Di Stasio (Suzuki)

Upcoming Performances

• November 2008 - Dublin (Opera Ireland)
• November 2008 - Vienna (Volk)
• November & December 2008 - Melbourne (Opera Australia)
• November 2008-March 2009 - New York (Metropolitan)
• December 2008 & January 2009 - Chicago (Opera)
• December 2008-March 2009 - Budapest (Staatsoper)
• December 2008-March 2009 - Sydney (Opera Australia)
• December 2008-June 2009 - Prague (Statni)
• January-March 2009 - Paris (Opera)
• January-May 2009 - Vienna (Staatsoper)
• March 2009 - Hamburg (Staatsoper)
• April 2009 - Moscow (Bolshoi)
• April & May 2009 - Miami (Grand)
• May 2009 - Munich (Staatsoper)
• May 2009 - San Diego (Opera)
• May 2009 - Venice (La Fenice)
• May & June 2009 - Berlin (Deutsche)
• May & June 2009 - Berlin (Komische)
• June 2009 - London (English National Opera)
• October 2009 - Buenos Aires (Colon)

Paul Mitchell is from Spain

Il Barbiere di Siviglia

Gioacchino Rossini

High Notes

Rosina was one of the few comic roles that Callas ever performed.  It also has the distinction of being written for mezzo-soprano.  That said, the recordings recommended below feature a soprano singing the role.  Of the three, Callas sounds the most like a mezzo-soprano because of the timbre of her voice.  Peters and Sills, who are both coloratura sopranos, add ornamentation that would be troublesome for a mezzo-soprano.  This fact is most evident in Rosina's "Una voce poco fa."  The aria is written in E with a top note on B, the dominant of the key.  Callas stays within the range written for the mezzo-soprano.  Sills flits around dominant but goes no higher.  Peters sings the aria in the transposed key of F and ascends to high tonic or high F!  Surprisingly enough, she does not do this at the end but in the middle of the cabaletta section.  To hear a piercing high F at the close of the aria, check out Anna Moffo.

Commedia in two acts, 2 & 1/2 hours

Composed in 1816

Set to a libretto by Cesare Sterbini after Pierre-Augustin Beumarchais' 1775 play Le barbier de Seville and Giuseppe Petrosellini's libretto for Giovanni Paisiello's 1782 Il barbiere di Siviglia

First performed in Rome, Italy, Teatro Argentina, on 20 February, 1819

The cast at the premiere included Geltrude Righetti-Giorgi (Rosina), Manuel Garcia (Almaviva), Luigi Zamboni (Figaro), Bartolomeo Botticelli (Bartolo) and Zenobio Vitarelli (Don Basilio).

Principle Roles

• Rosina, Bartolo's well-to-do ward.....soprano, mezzo-soprano or contralto
• Il Conte d'Almaviva, Rosina's suitor.....tenor
• Figaro, a barber and rascal.....bass-baritone
• Dr. Bartolo, Rosina's guardian and suitor.....bass-baritone
• Don Basilio, a music teacher and hypocrite.....bass

The Story

Count Almaviva plans to woo Rosina. He is aided by Figaro, the barber of Seville. Dr. Bartolo, Rosina's guardian, also has his sights set on his ward. Almaviva does his wooing under the alias of Lindoro, a student. Almaviva twice gains entry into Bartolo's home. The first time, he poses as a drunken soldier. When Bartolo calls the guards, they let Almaviva go when they discover that he is actually a count. Almaviva next poses as a substitue for Don Basilio and subsequently conducts Rosina's music lesson. When Don Basilio show up to the lesson, he is bribed to keep quiet. In the end, Bartolo's plans are thwarted and Rosina learns Almaviva's true identity.

Notable Incipits

• "Ecco ridente in cielo" (Almaviva)
• "Largo al factotum" (Figaro)
• "Una voce poco fa" (Rosina)
• "La calunnia" (Basilio)
• "Pace e gioia sia con voi" (Almaviva & Bartolo)
• "Ah, qual colpo inaspettato!" (Rosina, Almaviva & Figaro)

Recommended Recordings

• Callas (Rosina), Alva (Almaviva), Gobbi (Figaro)
• Peters (Rosina), Valletti (Almaviva), Merrill (Figaro)
• Sills (Rosina), Gedda (Almaviva), Milnes (Figaro)

Upcoming Performances

• November 2008 - Warsaw (Wielki)
• December 2008 - Rome (Opera)
• December 2008-April 2009 - Vienna (Staatsoper)
• January 2009 - Charlotte (Opera Carolina)
• January-June 2009 - Prague (Statni)
• February & March 2009 - Budapest (Staatsoper)
• February-June 2009 - Hamburg (Staatsoper)
• June 2009 - Stockholm (Royal)

Fallin' for a "Fallen" Woman

La Traviata

Giuseppe Verdi

High Notes

Violetta was Callas' second most performed role.  Violetta's two biggest numbers come at the end of Act 1 and at the beginning of Act 3.  Both "Ah, fors'e lui" and "Addio del passato" features high As, easily within the range of a lyric soprano.  Violetta also sings some important B flats at the end of the "letter scene" and the end of the opera itself.  However, the real high notes come in the coloratura showpiece "Sempre libera."  The aria repeatedly calls for high Cs as well as two D flats.  The highest note is an E flat on the last V chord before the closing I chord in A flat.  This note, however, was not written in the score and is therefore optional.  All three of the recordings mentioned below feature this interpolation.  

A melodramma in three acts, 2 hours

Composed in 1853

Set to a libretto by Francesco Maria Piave the 1852 play La Dame aux Camelias (The Lady of the Camelias) by Alexandre Dumas fils

First performed in Venice, Italy, Teatro La Fenice, on 6 March, 1853.

The cast at the premiere included Fanny Salvini Donatelli (Violetta), Ludovico Graziani (Alfredo) and Felice Varesi (Giorgio).

Priniciple Roles

• Violetta Valery, a courtesan.....soprano
• Alfredo Germont, Violetta's lover.....tenor
• Giorgio Germont, Alfredo's father.....baritone
• Flora Bervoix, Violetta's friend.....mezzo-soprano
• Annina, Violetta's maid.....soprano
• Gastone, Vicomte de Letorieres, Alfredo's friend.....tenor
• Baron Douphol, Violetta's protector and suitor.....baritone

The Story

Violetta is hosting a party at her home in Paris. She is intrigued to learn that the young Alfredo Germont is infatuated with her. She is also concerned for her health, as she is showing signs of tuberculosis. The two, now in love, move to the country. However, Violetta is secretly selling her jewelry to pay for their expensive new lives together. When Alfredo learns of this practice from Annina, he returns to Paris to raise money. While Alfredo is away, Giorgio comes to visit Violetta. Giorgio asks Violetta to end her relationship with Alfredo. The fact that Alfredo is living with a courtesan is preventing Alfredo's sister from marrying. Fighting back tears, Violetta agrees and returns to Paris to attend a party hosted by her friend Flora. She leaves a note for Alfredo, which he reads on his return to the country. Giorgio attempts to comfort Alfredo without revealing anything of the real reason why Violetta has left. Alfredo goes to Paris and crashes Flora's party. On seeing that Violetta has returned to her old life under the protection of Baron Douphol, Alfredo insults Violetta in front of all the guests. This causes Violetta to faint, bringing an end to the second act. In the third act, Violetta is near death but holds out for Alfredo's return. When Violetta is once again in Alfedo's arms, she succombs to tuberculosis and dies.

Notable Incipits

• "Libiamo ne' lieti calici" (Violetta & Alfredo)
• "Un di felice" (Violetta & Alfredo)
• "Ah, fors'e lui" (Violetta)
• "Sempre libera" (Violetta)
• "De' miei bollenti spiriti" (Alfredo)
• "O mio rimorso!" (Alfredo)
• "Pura siccome un angelo" (Giorgio)
• "Di Provenza il mar" (Giorgio)
• "Addio del passato" (Violetta)
• "Ah! Gran Dio! morir si giovine" (Violetta)

Recommended Recordings

• Callas (Violetta), Kraus (Alfredo), Sereni (Giorgio)
• Cotrubas (Violetta), Domingo (Alfredo), Milnes (Giorgio)
• Sills (Violetta), Gedda (Alfredo), Panerai (Giorgio)

Upcoming Performances

• November 2008 - Buenos Aires (Colon)
• November 2008 - Miami (Grand)
• November 2008 - Warsaw (Wielki)
• November-December 2008 - St. Petersburg (Kirov)
• December 2008-April 2009 - Zurich (Oper)
• December 2008-June 2009 - Munich (Staatsoper)
• December 2008-June 2009 - Prague (Statni)
• January-May 2009 - Berlin (Deutsche Oper)
• February-May 2009 - Hamburg (Staatsoper)
• March 2009 - Verono (Teatro)
• May 2009 - Vienna (Staatsoper)
• May-June 2009 - Los Angeles (Opera)
• June-July 2009 - Lyon (Opera)
• June-July 2009 - San Francisco
• July-August 2009 - Glimmerglass
• July-August 2009 - Santa Fe
• September 2009 - Venice (La Fenice)

Bride Gone Mad

Lucia di Lammermoor

Gaetano Donizetti

High Notes

Despite its status as a coloratura soprano vehicle, Lucia was one of Callas' top five roles.  Lucia is overflowing with high notes.  Lucia's cavatina, "Regnava nel silenzio," has a high D.  "Verrano a te sull'aure," the lover's duet, is written in B flat.  In Callas' recording, she and Tagliavini share a high Tonic.  In her recording, Sills interpolated a high F! before the closing.  Lucia has another high D at the end of Act 2 Scene 1.  The famous sextette, "Chi mi frena in tal momento," ends on a high D flat and Act 2 ends on a high D.  The equally famous mad scene has two high E flats.  If you are looking for ornamentation, purchase the Sills recording.

A dramma tragico in three acts, 2 & 1/2 hours

Composed in 1835

Set to a libretto by Salvatore Cammarano after Sir Walter Scott's novel "The Bride of Lammermoor"

First performed in Naples, Italy, Teatro di San Carlo, on 26 September 1835.

The cast at the premiere included Fanny Tacchinardi-Persiani (Lucia), Gilbert Duprez (Edgardo), Domenico Cosselli (Enrico), and Carlo Porto (Raimondo).

Principle Roles

• Lucia di Lammermoor, Enrico's sister.....soprano
• Edgardo Ravenswood, Lucia's beloved.....tenor
• Enrico Ashton, master of Lammermoor.....baritone
• Raimondo Bidebent, Calvinist chaplain at Lammermoor.....bass
• Lord Arturo Bucklaw, Lucia's groom.....tenor
• Alisa, Lucia's companion.....mezzo-soprano
• Normanno, a follower of Enrico Ashton.....tenor

The Story

Lucia needs to marry well in order to secure her family's finances. However, Normanno reveals to Enrico that she has been seeing Edgardo, her brother's sworn enemy. In a garden, Lucia contemplates the division between the two families and imagines the ghost of a Lammermoor girl who was killed by a Ravenswood. Enrico arrives and announces that he must leave Scotland for France to campaign for the Stuarts. Before he leaves, he wishes to mend the relationship between the families. However, at Lucia's urging, he settles for the exchanging of rings. While Edgardo is gone, Enrico forges a letter that suggests Edgardo has been unfaithful. The letter and the insistence of Raimondo convinces Lucia to allow Enrico to arrange her marriage to Arturo. Edgardo bursts into the wedding after Lucia signs the marriage contract. Enrico orders his removal while Edgardo voices his renewed hatred for the Lammermoor name. In a ruined tower of Ravenswood Castle, Enrico challenges Edgardo to a duel. Raimondo interrupts the wedding festivities to announce that Lucia has murdered Arturo and is asking for Edgardo. Lucia, who has gone mad, enters. Enrico feels guilty for her current state. She eventually falls dead. Edgardo, who has been waiting to fight Enrico, learns of Lucia's death from those leaving the wedding. He subsequently stabs himself.

Notable Incipits

• "Cruda, funesta smania" (Enrico)
• "Regnave nel silenzio" (Lucia)
• "Ah! Verrano a te sull'aure" (Lucia & Edgardo)
• "Se tradirmi tu potrai" (Lucia & Enrico)
• "Chi me frena in tal momento" (Lucia, Edgardo, Enrico, Raimondo, Arturo & Alisa)
• "Il dolce suono" (Lucia)
• "Alfin son tua" (Lucia)
• "Fra poco a me ricovero" (Edgardo)
• "Tu che a Dio spiegasti l'ali" (Edgardo)

Recommended Recordings

• Callas (Lucia), Tagliavini (Edgardo), Cappuccilli (Enrico)
• Sills (Lucia), Bergonzi (Edgardo), Cappuccilli (Enrico)
• Sutherland (Lucia), Pavarotti (Edgardo), Ghiaurov (Enrico)

Upcoming Performances

• October 2008-February 2009 - New York (Metropolitan)
• October 2008-May 2009 - Frankfurt (Oper)
• November 2008-March 2009 - Prague (Statni)
• December 2008 - Zurich (Oper)
• December 2008-March 2009 - Berlin (Deutsch)
• January/February 2009 - Florence (Communale)
• March-June 2009 - Vienna (Staatsoper)
• May 2009 - Dijon
• May/June 2009 - Montreal

The Gypsy of Seville and Don Jose

Carmen

Georges Bizet

High Notes

Carmen is the only opera to make the list in which Callas sings a mezzo-soprano role.  Therefore, the climax of Carmen's most famous number, "L'amour est un oiseau rebelle," is only an F sharp on the staff.  Carmen does have two Bs at the end of "Pres des remparts de Seville" and "Les tringles des sistres tintaient," but these notes are thrown up.  The real high note of the opera occurs in Escamillo's famous "Votre toast," where Micaela sings a high C on the V chord before the final I chord in F.  

An opera comique in four acts, 2 & 3/4 hours
Composed from 1873 to 1875
Set to a libretto by Henri Meilhac and Ludovic Halevy after Prosper Merimee's novella
First performed in Paris, France, Opera Comique, on 3 March 1875.

The cast at the premiere included Celestine Galli-Marie (Carmen), Paul Lherie (Don Jose), Marguarite Chapuy (Micaela), and Jacques Bouhy (Escamillo).

Principle Roles

• Carmen, a rebellious cigarette girl and gypsy.....mezzo-soprano
• Don Jose, a corporal of dragoons..........................tenor
• Micaela, a peasant girl.............................................soprano
• Escamillo, a matador..............................................bass-baritone
• Morales, an officer....................................................baritone
• Zuniga, a lieutenant captain...................................bass

The Story

The opera takes place in Seville during the early nineteenth century. Despite the title, much of the action centers around the character of Don Jose, who allows himself to be seduced by Carmen. Subsequently, he lets fall his duties as corporal and beloved of Micaela. He goes as far as allowing Carmen to escape from custody and joining the smugglers with whom she associates before being driven mad by jealousy. This jealousy is brought about by Carmen's unquestionable favor for Escamillo the matador. In the final act, Carmen accompanies Escamillo to the ring. Don Jose, knowing Carmen would be present, stabs her outside of the arena.

Notable Incipits

• "L'amour est un oiseau rebelle" (Carmen)
• "Pres des remparts de Seville" (Carmen)
• "Les tringles des sistres tintaient" (Carmen)
• "Votre toast, je peux vous le rendre" (Escamill0)
• "La fleur que tu m'avais jetee" (Don Jose)
• "Je dis que rien ne m'epouvante" (Micaela)

Recommended Recordings

• Bumbry (Carmen), Vickers (Don Jose), and Freni (Micaela)
• Callas (Carmen), Gedda (Don Jose), and Guiot (Micaela)

Upcoming Performances

• October/November 2008 - Glyndebourne
• November 2008 - Budapest (Erkel)
• November 2008 - Moscow (Bolshoi)
• November 2008 - Washington, D.C. (Washington Opera)
• November/December 2008 - Los Angeles
• November 2008-July 2009 - Zurich (Oper)
• January 2009 - Munich (Staatsoper)
• January/February 2009 - Vancouver
• February 2009 - Hamburg (Staatsoper)
• February/March 2009 - Vienna (Staatsoper)
• March-July 2009 - Berlin (Deutsch)
• April 2009 - Toulouse (Capitole)
• June 2009 - Paris (Opera Comique)
• July 2009 - Cincinnati