Bizet - Carmen / Gheorghiu · Alagna · Capitole de Toulouse · Plasson

Bizet - Carmen / Gheorghiu · Alagna · Capitole de Toulouse · Plasson

Bizet - Carmen / Gheorghiu · Alagna · Capitole de Toulouse · Plasson
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Composer: Georges Bizet
Conductor: Michel Plasson
Orchestra: Orchestre du Capitole de Toulouse
Performer: Angela Gheorghiu
Performer: Roberto Alagna
Performer: Thomas Hampson
Performer: Inva Mula
Performer: Elizabeth Vidal
Performer: Isabelle Cals / Ludovic Tezier
Performer: Yann Beuron / Nicolas Cavallier
Edition: Music CD
CD Release Date: 2003-02-25
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Carmen, opera: No. 1. Prélude
  2. Carmen, opera: Act 1. No. 2. Scène et Choeur. Sur la place chacun passe
  3. Carmen, opera: Act 1. No. 2. Scène et Choeur. Regardez donc cette petite
  4. Carmen, opera: Act 1. No. 2a. Scène et Pantomime. Attention! Chut! Attention! Taisons-nous!
  5. Carmen, opera: Act 1. No. 3. Choeur des gamins. Avec la garde montante
  6. Carmen, opera: Act 1. No. 3. R�©citatif. Une jeune fille charmante...Et la garde descendante
  7. Carmen, opera: Act 1. No. 3 bis. R�©citatif. C'est bien l� , n'est-ce pas
  8. Carmen, opera: Act 1. No. 4. Choeur des cigari�¨res. La cloche a sonn�©
  9. Carmen, opera: Act 1. No. 4. Choeur des cigari�¨res. Voyez-les! Regards impudents...Dans l'air, nous suivons des ye
  10. Carmen, opera: Act 1. No. 4. Choeur des cigarières. Mais nous ne voyons pas la Carmencita!...Récitatif. Quand je v
  11. Carmen, opera: Act 1. No. 5. Habanera. L'amour est un oiseau rebelle
  12. Carmen, opera: Act 1. No. 5a. Air et Choeur. L'amour est enfant de bohème (original version)
  13. Carmen, opera: Act 1. No. 6. Scène. Carmen! sur tes pas, nous nous pressons tous!
  14. Carmen, opera: Act 1. No. 6 bis. Récitatif. Quels regards! Quelle effronterie!
  15. Carmen, opera: Act 1. No. 6 bis. Récitatif. José!...Micaëla...No. 7. Duo. Parle-moi de ma mère!
  16. Carmen, opera: Act 1. No. 7 bis. Récitatif. Reste là, maintenant, pendant que je lirai
  17. Carmen, opera: Act 1. No. 8. Choeur. Que se passe-t-il donc là-bas?...Au secours! Au secours!
  18. Carmen, opera: Act 1. No. 9. Chanson et Mélodrame. Mon officier, c'était une querelle...Tralalalala, coupe-moi
  19. Carmen, opera: Act 1. No. 9. Récitatif. Où me conduisez-vous?
  20. Carmen, opera: Act 1. No. 10. Séguedille et Duo. Près des remparts de Séville
  21. Carmen, opera: Act 1. No. 11. Final. Voici l'ordre; partez
Music CD 2
  1. Carmen, opera: Entracte
  2. Carmen, opera: Act 2. No. 12. Chanson bohème. Les tringles des sistres tintaient
  3. Carmen, opera: Act 2. No. 12 bis. Récitatif. Messieurs, Pastia me dit...
  4. Carmen, opera: Act 2. No. 13. Choeur. Vivat! vivat le Toréro!
  5. Carmen, opera: Act 2. No. 14. Couplets. Votre toast, je peux vous le rendre...Toréador, en garde!
  6. Carmen, opera: Act 2. No. 14 bis. Récitatif. La belle, un mot
  7. Carmen, opera: Act 2. No. 14 ter. Sortie d'Escamillo
  8. Carmen, opera: Act 2. No. 14 quater. Récitatif. Eh bien! vite, quelles nouvelles?
  9. Carmen, opera: Act 2. No. 15. Quintette. Nous avons en tête une affaire
  10. Carmen, opera: Act 2. No. 15 bis. Récitatif. Mais qui donc attends-tu?
  11. Carmen, opera: Act 2. No. 16. Chanson. Halte là! Qui va là?
  12. Carmen, opera: Act 2. No. 16 bis. Récitatif. Enfin, c'est toi!...No. 17. Duo. Je vais danser en votre honneur
  13. Carmen, opera: Act 2. No. 17. Duo. La-la-la-la...Attends un peu, Carmen
  14. Carmen, opera: Act 2. No. 17. Duo. Au quartier! pour l'appel!
  15. Carmen, opera: Act 2. No. 17. Duo. La fleur que tu m'avais jetée
  16. Carmen, opera: Act 2. No. 17. Duo. Non, tu ne m'aimes pas
  17. Carmen, opera: Act 2. No. 17. Duo. Non! Je ne veux plus t'écouter!
  18. Carmen, opera: Act 2. No. 18. Final. Bel officier, l'amour vous joue
  19. Carmen, opera: Act 2. No. 18. Final....plus tard!... La guerre, c'est la guerre!
Music CD 3
  1. Carmen, opera: Entracte
  2. Carmen, opera: Act 3. No. 19. Sextuor et Choeur. �coute, écoute, compagnon, écoute
  3. Carmen, opera: Act 3. No. 19. Sextuor et Choeur. Notre métier est bon
  4. Carmen, opera: Act 3. No. 19 bis. Récitatif. Reposons-nous une heure ici, mes camarades
  5. Carmen, opera: Act 3. No. 19 bis. Récitatif. Que regardes-tu donc?
  6. Carmen, opera: Act 3. No. 20. Trio. Mêlons! Coupons!
  7. Carmen, opera: Act 3. No. 20. Trio. Voyons, que j'essaie à mon tour
  8. Carmen, opera: Act 3. No. 20. Trio. En vain pour éviter
  9. Carmen, opera: Act 3. No. 20. Trio...la mort...Parlez encor, parlez mes belles
  10. Carmen, opera: Act 3. No. 20 bis. R�©citatif. Eh bien?...Eh bien! nous essayerons
  11. Carmen, opera: Act 3. No. 21. Morceau d'ensemble. Quant au douanier, c'est notre affaire
  12. Carmen, opera: Act 3. No. 22. R�©citatif. C'est des contrebandiers
  13. Carmen, opera: Act 3. No. 22. Air. Je dis, que rien ne m'�©pouvante
  14. Carmen, opera: Act 3. No. 22 bis. R�©citatif. Je ne me trompe pas
  15. Carmen, opera: Act 3. No. 22 bis. R�©citatif. Quelques lignes plus bas...No. 23. Duo. Je suis Escamillo, Tor�©ro de
  16. Carmen, opera: Act 3. No. 23. Duo. Elle avait pour amant
  17. Carmen, opera: Act 3. No. 23. Duo. Enfin ma colere...Quelle maladresse
  18. Carmen, opera: Act 3. No. 24. Final. Prends garde �  toi, Carmen
  19. Carmen, opera: Act 3. No. 24. Final. Tor�©ador, en garde!
  20. Carmen, opera: Entracte
  21. Carmen, opera: Act 4. No. 25. Choeur. Ã?Â? deux cuartos! Ã?Â? deux cuartos!
  22. Carmen, opera: Act 4. No. 26. Marche et Choeur. Les voici! voici la quadrille!
  23. Carmen, opera: Act 4. No. 26. Marche et Choeur. Si tu m'aimes, Carmen
  24. Carmen, opera: Act 4. No. 26. Marche et Choeur. Carmen, un bon conseil
  25. Carmen, opera: Act 4. No. 27. Duo et Choeur final. C'est toi!...C'est moi!
  26. Carmen, opera: Act 4. No. 27. Duo et Choeur final. Tu ne m'aimes donc plus?

Music reviews of Bizet - Carmen / Gheorghiu · Alagna · Capitole de Toulouse · Plasson

Music Review: A Modern Callas-Like Carmen At Last
Rating: 5 Stars

This EMI recording features the highly successful dramatic soprano Angela Gheorghiu as Bizet's fiery, fatal Carmen, her husband tenor Roberto Alagna is Don Jose, lyric soprano Inva Mulla Tchako as Micaela and Thomas Hampson as Escamillo the bullfighter. This studio recording is not the soundtrack to any of the films that Angela Gheorghiu and Roberto Alagna have made together (though I would love to see a film version of Carmen with these two in addition to their Romeo et Juliette and Tosca). Their tenor-soprano duo is of course the reason to purchase this recording. If you are devoted fans of opera's sexiest couple, this recording is definately for you. They have chemistry, virtuosic performance skills and beautiful voices and mastership of French song. Roberto Alagna was raised in France and has sung a vast number of French operas. He taught the East European Angela Gheorghiu French. This opera definately has a Gaelic touch to it. The electricity and sparks between these two sizzle on your stereo. Just hear the Seguidilla Scene, the whole scene which features the Flower Song sung by Don Jose and Carmen's following "No tu no me aime plus" and of course the fatal finale at the end of the bullfight "C'est Toi ? C'est Moi ?" all the way to "Eh Bien Damnee!" as Don Jose plunges a knife in Carmen's chest, killing her to end his crazed jealousy. Conductor Michel Plasson does not conduct the score as if it were verisimo Italian opera, though at times the opera has that feel to it. It is after all a brutally realistic tale full of violent passions, obscessions, sex, criminal activity, murder and basic instinct all elements straight out of an Emile Zola novel (though it was actually Prosper Merimee's grim novella). But Plasson tones it down so that the French lyricism is dominant, while still remaining a dramatic work of theater. The score is bombastic, but elegant as well.

Alagna is masteful as Don Jose, his voice trained well through years of studying both Pavarotti and Domingo, his predecessors. He has Pavoratti's lyricism and Domingo's dark dramatic depth. He also has sexy good looks. His Don Jose is among one of the best in recent times. Thomas Hampson is an ok Escamillo, with macho bravura but with no passion or attempt at passion like the baritones Sherill Milnes or Robert Merrill before him.

Angela Gheorghiu is not everyone's preferred choice for Carmen. Carmen calls for a dark, sexy mezzo soprano voice and only few Carmens have actually achieved success and made it their signature roles. Mezzo sopranos in the past that owned the role of Carmen included Rise Stevens, Giuletta Simionato, Regina Resnik, Shirley Verrett, Grace Bumbry, Agnes Baltsa and Tatiana Troyanos. Out of all these singers only Grace Bumbry does it for me, though Verrett and Troyanos also make fine Carmens. Gheorghiu would not be the first soprano to take on this role. Maria Callas' last recorded full-length opera was Carmen under EMI with Nicolai Gedda in the late 60's. Callas' soprano made Carmen seem sexy but a tad more melodramatic, and in Angela Gheorghiu we have a similar performance. She is a soprano and her voice is still in the soprano range and thus makes Carmen les the sexy femme fatale and more the dramatic diva that lures her lover to madness and murder. It is very surprising how similar Callas' Carmen and Gheorghiu's are. Gheorghiu must have studied Callas' interpretation quite a lot. It still works, as Angela Gheorghiu has a more mellifluous and even voice than Callas and is so in to the character we forget she's not a mezzo. Her voice is perfectly adaptable to the character. Oh, and I forgot to mention, Leontyne Price, another dramatic high soprano, took on the role of Carmen, as well as Jessye Norman. Carmen is such a juicy, attractive role. Thank God Angela Gheorghiu looks sexy enough to be Carmen. This is a brilliant modern Carmen and fans of Gheorghiu and Alagna should own this. Also, Inva Mulla Tchako (who sang the alien Lucia in Fifth Element) has a beautiful, silky soprano voice and does justice to the part of Micaela.
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Description of Bizet - Carmen / Gheorghiu · Alagna · Capitole de Toulouse · Plasson

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The subject of whether we need another recording of this just-about-the world's-most-popular opera, which already boasts a half-dozen very fine ones available, is beside the point. Fans of opera's most volatile and fascinating couple, Angela Gheorghiu and Roberto Alagna, will both want and need this set. It's handsomely conducted by Frenchman Michel Plasson; most of the supporting cast, chorus, and orchestra are French, and this gives the work the true Gallic flavor many other performances are missing. Non-Frenchman Thomas Hampson offers an Escamillo who is less bluster than usual, but with plenty of swagger and lightish tone, and non-Frenchwoman Inva Mula's Micaela is lovely, particularly in the first act. Alagna is at his best, singing with almost no strain, impeccable diction (despite his name, he was raised in France), great sensitivity to the text, and a real sense of characterization. The set's problem is Gheorghiu. Despite her fine artistry, intelligence, and beautiful, unique sound, it is not a Carmen sound: it isn't rich, or deep, or sensual enough. In other words, this is a very fine performance of Carmen, but it's missing a real Carmen. Leontyne Price will convince you; and in entirely different ways, so will Agnes Baltsa (on RCA), and, of course, Maria Callas. But the great singing, playing, and conducting on this new set may be enough. And there's an alternate, earlier version of the Habanera included. --Robert Levine

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