383:
Eventually, Shchedrin decided to exploit this connection in what he called "a creative meeting of the minds." With
Shostakovich's words in mind, Shchedrin said, "I had to combine ... something fresh ... with these famous melodies." From this motive came the idea to use just strings and percussion for the instrumentation "because then it is a totally modern combination." His intent was to give homage to what Bizet had done and acknowledge the universality of his music in telling the story of Carmen while adding his own ideas to the work. In this way, Andrew Lindemann Malone writes in his description of the ballet, Shchedrin positioned him on a creative middle ground, "making himself if not an equal partner at least something above the level of arranger."
405:, Malone says, is introduced "in a bouncy duet" for vibraphone and tympani, while various percussion instruments accentuate separate notes in the "Changing of the Guard" scene to "unexpectedly rattle" the melodic line." The full extent of Shchedrin's emendations and their faithfulness to Bizet and the story, Malone writes, are both shown in the finale of the ballet: "melodies get twisted, thrown to exotic percussion, and otherwise trampled, but the resulting music, with its passionate climax and coda of distant bells and pizzicato strings, still has gravity and depth, due both to Bizet and to Shchedrin's interventions."
548:"was his own work when 'everyone knew that it had been written by a French composer, Bizet.'" Plisetskaya demanded that Furtseva withdraw this charge or she would never dance again, either in the Soviet Union or abroad. Kudryavtsev told Ford that Furtseva said this was fine by her as Plisetskaya was too old to continue dancing anyway. Plisetskaya, in her version of the meeting, said that Furtseva "screeched" that Plisetskaya would be "a traitor to classical ballet" by leaving, to which she did not reply. As it turned out, Plisetskaya became seriously ill and could not go on the tour.
481:, was repelled by the modernist flavor given to the music and the sexual overtones of both the story and the title character. She banned the work immediately following its premiere as "insulting" to Bizet's masterpiece. Explaining this, Furtseva commented to Soviet media, "We cannot allow them to make a whore out of Carmen, the heroine of the Spanish people." Unfortunately for Furtseva, her words were taken as a joke among the Moscow public following the controversy. When she met privately at the Bolshoi with Plisetskaya and other members, Furtseva called
387:
are "combined for 'found' counterpoint," Malone writes, others interrupted and still more left unaccompanied where
Shchedrin assumes the listener knows both music and story all too well. An instance of the last mentioned, Malone writes, is "when a big whipped-up climax in the Torero scene leads to nothing but the lowest percussion, pumping quietly, merrily, and obliviously along." He also adds a number of humorous touches, such as the off-color use of the "Farandole" from Bizet's incidental music to
29:
1276:
323:
604:, "you get all the familiar tunes dressed up in a way Bizet would never have imagined, and with a sly grin and a twinkle in the eye." The music is still not universally loved, though. In his review of the Pletnev recording, Raymond Tuttle calls Shchedrin's efforts "a sort of classical 'bachelor pad' takeover, half lurid and half disturbing, of Bizet's immortal soul" and notes "the score's incipient vulgarity" and "grotesque elements."
496:(RSFSR); this made him effectively leader of that union. Even if it were not meant as an official call and regardless of his official position still being subservient to hers, the fact it was Shostakovich calling might have still carried some cachet. Because of this personal intervention, the ban was lifted. Plisetskaya confessed in her autobiography that without Shostakovich's help, the ban on
1844:
1856:
622:
on it seems Carmen is the bullfighter aiming her darts at first one lover, then the next; but a final quartet — featuring her, José, the Torero and Fate — proceeds through a certain amount of partner changing until Carmen lies dead at José’s feet and Fate at the Torero’s. (It’s not often that you come away feeling Fate got a rough deal.)
400:
Shchedrin's orchestration proved equally unexpected and creative. Eschewing the full orchestra of Bizet for one of strings and an enlarged percussion section, he "boldly overhauled" the orchestral sound, as
Sanderson phrases it, with a greatly widened timbrel range enhancing the sharpened rhythms and
591:
climate prevailing at the time. More recent commentators seem to have taken the ballet's tongue-in-cheekiness more in stride. In his review of the
Kremlin Chamber Orchestra recording, Sanderson calls the ballet "an iconoclastic but highly entertaining retelling of Bizet's opera," and John Armstrong,
460:
Alonso's scenario centers on Carmen, Don José and the bullfighter
Escamillo. Carmen is a passionate, free-spirited woman in contrast to the temperamental and fickle Don José. Fate, a ballerina dressed in black and a representation of Carmen's alter ego, tells Carmen's fortune with a deck of cards. A
621:
Nothing about "Carmen Suite" is remotely subtle, though the narrative makes Carmen look considerably more dishonest about her change of erotic allegiance (from José to the Torero) than in the opera. The characters keep posing for us and one another; steps are hurled flamboyantly, like stunts. Early
464:
Boris
Messerer's sets included a mock bullring which symbolizes life, uniting the bullfight and Carmen's destiny in a sinister personage. Masked spectators and a uniformed judge represent society's disapproval for the unconventional behavior of Carmen and her lovers. Fate reappears in the final act
386:
Toward this end, Shchedrin set Bizet's music with a number of clever and unexpected rhythmic twists and subtler changes in notes and chords. This gives the impression of simultaneously recognizing something familiar and being surprised in hearing something slightly distorted about it. Some melodies
382:
However, as much as he struggled to write an original score for this project, Shchedrin found he could not extricate the story from the music that French composer
Georges Bizet wrote for his opera of the same name, a score Shchedrin called "fantastic, one of the best in the whole history of music."
350:
to compose a ballet on the story of Carmen, since, Shchedrin said, they were both on good terms with him. Shostakovich "gently but firmly refused," Plisetskaya remembers. "I'm afraid of Bizet," he told her half-jokingly. "Everyone is so used to the opera that whatever you write, you'll disappoint
131:
but rather "a creative meeting of the minds," as
Shchedrin put it, with Bizet's melodies reclothed in a variety of fresh instrumental colors (including the frequent use of percussion), set to new rhythms and often phrased with a great deal of sly wit. Initially banned by the Soviet hierarchy as
523:
and began advertising
Plisetskaya's appearance in it, expecting a full audience of 6,000. However, when he arrived in Moscow in July 1967 to sign contracts, he was told that Furtseva had seen the ballet and decided it would not be shown in Canada. The objection at that time appeared to be that
378:
and told him of her desire for a Carmen ballet. Alonso developed the libretto and worked with Ballet
Nacional dancers on the choreography, then flew to Moscow to teach the work to Plisetskaya. Shchedrin watched her initial rehearsals with Alonso and agreed to write music for the ballet.
314:, was that, "to be totally far " from Bizet's scoring for the opera, he wanted an ensemble "without brass and woodwind... that gave me many possibilities" for timbral variety. The second was the high level of string and percussion players then available in the Bolshoi orchestra.
132:"disrespectful" to the opera for precisely these qualities, the ballet has since become Shchedrin's best-known work and has remained popular in the West for what reviewer James Sanderson calls "an iconoclastic but highly entertaining retelling of Bizet's opera."
587:"A real curiosity" and, while "a skilful hotchpotch on popular themes has its attractions," it was "Not the sort of thing, then, that is going to endear itself to the US State Department"—a nod to the work's Soviet-Cuban roots and the
539:
not be included but that she was to tell the foreign press that the work was not ready to be performed. When told this, Plisetskaya refused to go on tour and that if she were forced to do so, she would tell the foreign press the truth about
461:
fight with tobacco dealers leads to Carmen's arrest by Captain Zúñiga. In jail, she seduces Don José and convinces him to release her. Carmen is subsequently caught in a love triangle between Don José and popular bullfighter Escamillo.
465:
playing the role of a bull and the three main characters meet in the arena. Carmen dances alternatively with Fate, Escamillo and Don José until she is stabbed. She dies caressing Don José's face, revealing him as the assassin.
515:. In fact, the Canadian impresario assisting with the Bolshoi on the tour, Nikolai Kudryavtsev, had specifically requested it and felt it would be highly appropriate. Kudryavtsev, assured by the Ministry of Culture that
367:, but "things never went beyond talking." Shchedrin added that Khachaturian told Plisetskaya, "Why you need me? You have a composer at home, ask him!" It was then, he said, that she asked him to write the music.
485:"a great failure," the production "raw. Nothing but eroticism. The opera's music has been mutilated. The concept has to be rethought. I have grave doubts as to whether the ballet can be redone."
492:. He told Furtseva that he considered the ballet both a masterly transcription and highly effective dance music. At this time, Shostakovich was First Secretary of the Composer's union of the
531:, was asked by the Soviets to a meeting at Furtseva's office in Moscow. The meeting lasted from 10:00 AM to 5:00 PM and consisted mainly, as he recalled later to Canadian poet and diplomat
374:
stopped in Moscow during its Soviet tour. Plisetskaya's mother attended its performances and encouraged her to go. Eventually, Plisetskaya approached the company's choreographer,
1007:
397:. None of these changes obfuscate either the general melodic curves of Bizet's music—all the familiar tunes are easily recognizable—or the intricacies of the plot.
189:
A standard string orchestra of violins, violas, cellos, double basses is augmented by a percussion battery of one timpanist and four members, who play the following:
1908:
493:
1056:
1123:
1883:
1279:
563:. Once they were returned, the Bolshoi was allowed to stage the ballet, which became popular with Moscow audiences. In 1968, Premier
617:
faults Alonso for turning "the dance impulse in Bizet’s music into something heavier and more clumsily expressionistic," then adds,
1903:
956:
477:
in 1967 but the fact that Bizet's music was so well-known actually worked against its favor, at first. Soviet Minister of Culture
1913:
1012:
1017:
351:
them." He suggested that perhaps Shchedrin could "come up with something special" to fulfill her request. Instead, she went to
1497:
989:, Aug 2009. As posted by Duchen on Standpoint Blogs as "Plisetskaya, Shchedrin, Carmen," 7 Aug 2009. Accessed 25 Mar 2012
567:
saw and praised it. When a tour of Great Britain was scheduled for later that year and the British impresario requested
1074:
1050:
1035:
1001:
1638:
1081:
Tuttle, Raymond, classicalnet.com review of Pletnev/RNO recording. Posting date not available. Retrieved 23 Mar 2012
1312:
983:
1598:
1548:
1888:
1507:
1175:
1116:
1472:
1479:
1237:
310:
Two factors influenced Shchedrin in choosing this instrumentation. The first, he said in an interview with
535:, of "a running battle between Plisetskaya and Furtseva." Furtseva told Plisetskaya that not only would
1898:
1893:
1834:
1708:
1698:
597:
1013:
Malone, Andrew Lindemann, allmusic.com work description for Carmen Suite ballet. Retrieved 22-Mar-2012
389:
1432:
1404:
1183:
1109:
1092:
1628:
1464:
1441:
1191:
1848:
544:. At one point, Kudryavtsev remembered, Furtseva accused Shchedrin of plagiarism for claiming
235:
1080:
966:
Armstrong, John, BBC Music review of Pletnev/RNO recording, 20-Nov-2002. Retrieved 22-Mar-2012
1794:
1718:
1518:
371:
1786:
1688:
1618:
1578:
1374:
1305:
1218:
650:
658:. Only 2,500 people attended, which made the performance a financial disaster (Ruud, 150).
8:
1608:
1568:
478:
347:
1018:
Macaulay, Alastair, "This Carmen Seeks Liberty in a Bullring, With Strokes of Fate." In
1738:
1668:
1658:
1648:
1588:
1558:
1538:
1528:
1424:
1159:
655:
609:
560:
532:
520:
363:
1759:
1070:
1046:
1031:
997:
614:
352:
503:
Shostakovich's call did not end all official interference with the ballet, however.
1728:
1343:
1254:
1132:
343:
327:
114:
110:
55:
33:
1290:
1878:
1777:
1449:
1298:
970:
593:
488:
Not long after the meeting with Furtseva, Shostakovich called the ministry about
402:
357:
118:
89:
1809:
1394:
1260:
1167:
1147:
1030:(Oxford and New York: Oxford University Press, 2004), ed. Cohen, Selma Jeanne.
979:
564:
375:
106:
45:
1061:
Kremlin Chamber Orchestra conducted by Misha Rachlevsky. Retrieved 22-Mar-2012
1872:
1678:
1456:
1321:
394:
270:
217:
1860:
1364:
965:
250:
1008:
Greenfield, Edward, gramophone.net review, Apr-1969. Retrieved 22-Mar-2012
607:
Like the music, the ballet still comes under critical fire at times. In a
28:
1768:
1801:
282:
231:
221:
197:
507:
had been planned for the Bolshoi's upcoming tour of Canada as part of
150:
III. First Intermezzo: Allegro moderato - Andante moderato - (attacca)
293:
274:
205:
201:
322:
1101:
588:
254:
243:
156:
V. Carmen's Entrance and Habanera: Allegro moderato - Quasi andante
128:
994:
Shostakovich: String Quartet No. 8 (Landmarks in Music Since 1950)
992:
Fanning, David, "Placing Shostakovich and the Eighth Quartet." In
512:
508:
450:
305:
297:
289:
278:
258:
209:
193:
1326:
528:
301:
266:
239:
213:
127:
and arranged for strings and percussion, is not a 19th-century
123:
67:
159:
VI. Scene: Allegro moderato - Tempo precedente - Andante assai
225:
1069:(Quebec City: McGill–Queen's University Press, 2009).
342:
originated with Shchedrin's wife, Bolshoi Theatre ballerina
1819:
524:
Plisetskaya had danced in "very abbreviated black tights."
262:
105:
is a one-act ballet created in 1967 by Cuban choreographer
559:
could not be performed for the 50-year celebration of the
552:
was not performed but the sets were shipped regardless.
180:
XIII. Finale: Allegro - Tempo precedente - Andante assai
140:
The ballet is in one act containing 13 dance numbers:
1832:
1320:
117:. The premiere took place on 20 April 1967 at the
1059:Carmen Suite; Russian Photographs; Glorification,
1870:
785:
783:
781:
779:
777:
401:sudden hairpin turns in phrasing and mood. The
177:XII. Fortune-Telling: Andantino - Andante assai
527:Two weeks later, Kudryavtsev, who was then in
393:and the sudden, unexpected hesitations in the
121:, Moscow. The music, taken from Bizet's opera
1306:
1117:
1028:International Encyclopedia of Dance, Volume 5
1067:The Constant Diplomat: Robert Ford in Moscow
957:Anonymous, Ballet Nacional de Cuba notes on
774:
494:Russian Soviet Federative Socialist Republic
767:
765:
763:
753:
751:
749:
681:
679:
677:
675:
230:Player 2: vibraphone, marimba, snare drum,
1313:
1299:
1124:
1110:
919:
888:
886:
809:
807:
1057:Sanderson, Blair, allmusic.com review of
1026:Messerer, Azary, "Plisetskaya, Maya." In
1909:Ballets premiered at the Bolshoi Theatre
760:
746:
699:
697:
695:
693:
691:
672:
321:
1093:Boosey & Hawkes page for Shchedrin
883:
804:
113:for his wife, prima ballerina assoluta
1871:
789:Malone, allmusic.com work description.
734:
613:2011 review of the Mariinsky staging,
1294:
1105:
727:
725:
688:
574:
174:XI. Adagio: Andante moderato - Adagio
171:X. Torero and Carmen: Lento - Tempo I
1131:
1022:, 17 Jul 2011. Retrieved 23 Mar 2012
996:(Ashgate Publishing Limited, 2004).
792:
583:, reviewer Edward Greenfield called
984:"Shchedrin & the Carmen Suite,"
975:, 8-May-2010. Retrieved 22-Mar-2012
153:IV. Changing of the Guard: Moderato
13:
722:
571:, the Ministry of Culture agreed.
184:
168:IX. Torero: Moderato con stoltezza
14:
1925:
1086:
162:VII. Second Intermezzo: Larghetto
1884:Compositions by Rodion Shchedrin
1854:
1842:
1275:
1274:
934:Tuttle, classicalnet.com review.
731:Ballet Nacional de Cuba website.
326:Rodion Shchedrin with his wife,
27:
1152:
1045:(Yale University Press, 2001).
937:
928:
907:
898:
874:
865:
853:
841:
838:, 276; Sanderson, allmusic.com.
828:
819:
638:
592:in his BBC Music review of the
500:might have remained permanent.
468:
1914:Arrangements of opera excerpts
1639:Carmen, la que contaba 16 años
710:
519:would be included, booked the
453:, Spain, and surrounding hills
355:, the composer of the ballets
346:. In 1964, she asked composer
317:
144:I. Introduction: Andante assai
1:
1097:Ballet. Retrieved 22-Mar-2012
626:
304:, triangle, tambourine, five
109:to music by Russian composer
665:
555:With its sets still abroad,
135:
7:
1904:Cuba–Soviet Union relations
925:Greenfield, gramophone.net.
579:In the April 1969 issue of
443:
10:
1930:
950:
943:Macaulay, NY Times review.
600:recording, writes that in
598:Russian National Orchestra
511:, scheduled to be held in
165:VIII. Bolero: Allegro vivo
1750:
1489:
1465:Carmen: Duets & Arias
1433:Carmen Fantasy (Sarasate)
1416:
1355:
1334:
1270:
1247:
1229:
1202:
1139:
74:
61:
51:
41:
26:
21:
1629:Man, Pride and Vengeance
1442:Carmen Fantasie (Waxman)
971:balletbag.com notes for
685:Sanderson, allmusic.com.
631:
427:a bullfighter (toreador)
408:
961:. Retrieved 22-Mar-2012
372:Ballet Nacional de Cuba
79:20 April 1967
1176:The Enchanted Wanderer
834:Armstrong, BBC Music;
648:, the Bolshoi offered
624:
473:The Bolshoi premiered
335:
1889:1967 ballet premieres
1795:Battle of the Carmens
1719:U-Carmen eKhayelitsha
1519:A Burlesque on Carmen
771:Armstrong, BBC Music.
619:
325:
1689:Carmen: A Hip Hopera
1619:Carmen di Trastevere
1579:Carmen, la de Triana
757:balletbag.com notes.
421:corporal of Dragoons
330:, in 2009. He wrote
1599:The Loves of Carmen
1569:Nights in Andalusia
1549:The Loves of Carmen
1043:I, Maya Plisetskaya
1041:Plisetskaya, Maya,
880:Ruud, 149–50.
479:Yekaterina Furtseva
433:captain of Dragoons
348:Dmitri Shostakovich
1649:First Name: Carmen
1020:The New York Times
987:BBC Music Magazine
705:BBC Music Magazine
656:Ekaterina Maximova
575:Critical reactions
561:October Revolution
521:Maple Leaf Gardens
370:In late 1966, the
336:
312:BBC Music Magazine
147:II. Dance: Allegro
1899:Orchestral suites
1894:1967 compositions
1830:
1829:
1760:Carmen up to Data
1480:Carmen Variations
1288:
1287:
1184:Boyarina Morozova
1065:Ruud, Charles A.
615:Alastair Macaulay
456:Time: Around 1820
353:Aram Khachaturian
98:
97:
1921:
1859:
1858:
1857:
1847:
1846:
1845:
1838:
1823:
1814:
1804:
1797:
1790:
1781:
1772:
1763:
1743:
1733:
1723:
1713:
1703:
1693:
1683:
1673:
1663:
1653:
1643:
1633:
1623:
1613:
1603:
1593:
1583:
1573:
1563:
1553:
1543:
1533:
1523:
1513:
1503:
1490:Film adaptations
1482:
1475:
1468:
1459:
1452:
1445:
1436:
1427:
1409:
1399:
1389:
1379:
1369:
1348:
1315:
1308:
1301:
1292:
1291:
1278:
1277:
1255:Maya Plisetskaya
1238:The Sealed Angel
1154:
1133:Rodion Shchedrin
1126:
1119:
1112:
1103:
1102:
944:
941:
935:
932:
926:
923:
917:
911:
905:
902:
896:
890:
881:
878:
872:
869:
863:
857:
851:
845:
839:
832:
826:
823:
817:
811:
802:
796:
790:
787:
772:
769:
758:
755:
744:
738:
732:
729:
720:
714:
708:
701:
686:
683:
659:
642:
344:Maya Plisetskaya
328:Maya Plisetskaya
115:Maya Plisetskaya
111:Rodion Shchedrin
94:
93:
86:
84:
56:Rodion Shchedrin
34:Maya Plisetskaya
31:
19:
18:
1929:
1928:
1924:
1923:
1922:
1920:
1919:
1918:
1869:
1868:
1865:
1855:
1853:
1849:Classical music
1843:
1841:
1833:
1831:
1826:
1817:
1807:
1800:
1793:
1784:
1778:Carmen Brasilia
1775:
1766:
1757:
1746:
1736:
1726:
1716:
1706:
1696:
1686:
1676:
1666:
1656:
1646:
1636:
1626:
1616:
1606:
1596:
1586:
1576:
1566:
1556:
1546:
1536:
1526:
1516:
1506:
1496:
1485:
1478:
1471:
1462:
1455:
1448:
1439:
1430:
1423:
1412:
1402:
1392:
1382:
1372:
1362:
1351:
1341:
1330:
1319:
1289:
1284:
1266:
1243:
1225:
1198:
1192:The Left-Hander
1135:
1130:
1089:
980:Duchen, Jessica
953:
948:
947:
942:
938:
933:
929:
924:
920:
912:
908:
903:
899:
891:
884:
879:
875:
870:
866:
858:
854:
846:
842:
833:
829:
824:
820:
812:
805:
797:
793:
788:
775:
770:
761:
756:
747:
739:
735:
730:
723:
719:, 269–70.
715:
711:
702:
689:
684:
673:
668:
663:
662:
643:
639:
634:
629:
594:Mikhail Pletnev
577:
471:
446:
411:
334:for Plisetskaya
320:
269:, guiro, three
187:
185:Instrumentation
138:
119:Bolshoi Theatre
90:Bolshoi Theatre
88:
87:
82:
80:
78:
37:
36:as Carmen, 1974
17:
12:
11:
5:
1927:
1917:
1916:
1911:
1906:
1901:
1896:
1891:
1886:
1881:
1864:
1863:
1851:
1828:
1827:
1825:
1824:
1815:
1810:Carmen Get It!
1805:
1798:
1791:
1782:
1773:
1764:
1754:
1752:
1748:
1747:
1745:
1744:
1734:
1724:
1714:
1712:(France, 2003)
1704:
1702:(Russia, 2003)
1694:
1684:
1674:
1664:
1654:
1644:
1634:
1624:
1614:
1604:
1594:
1584:
1574:
1564:
1554:
1544:
1534:
1524:
1514:
1504:
1501:(1915 DeMille)
1493:
1491:
1487:
1486:
1484:
1483:
1476:
1469:
1460:
1453:
1446:
1437:
1428:
1420:
1418:
1414:
1413:
1411:
1410:
1408:(2008 musical)
1400:
1398:(1988 musical)
1395:Carmen, Carmen
1390:
1380:
1370:
1368:(1943 musical)
1359:
1357:
1353:
1352:
1350:
1349:
1338:
1336:
1332:
1331:
1318:
1317:
1310:
1303:
1295:
1286:
1285:
1283:
1282:
1271:
1268:
1267:
1265:
1264:
1261:4625 Shchedrin
1258:
1251:
1249:
1245:
1244:
1242:
1241:
1233:
1231:
1227:
1226:
1224:
1223:
1215:
1206:
1204:
1200:
1199:
1197:
1196:
1188:
1180:
1172:
1164:
1156:
1148:Not Love Alone
1143:
1141:
1137:
1136:
1129:
1128:
1121:
1114:
1106:
1100:
1099:
1088:
1087:External links
1085:
1084:
1083:
1078:
1063:
1054:
1039:
1024:
1015:
1010:
1005:
990:
977:
968:
963:
952:
949:
946:
945:
936:
927:
918:
906:
897:
882:
873:
864:
852:
850:, 276–7.
840:
827:
818:
803:
791:
773:
759:
745:
733:
721:
709:
687:
670:
669:
667:
664:
661:
660:
636:
635:
633:
630:
628:
625:
610:New York Times
576:
573:
565:Alexei Kosygin
470:
467:
458:
457:
454:
445:
442:
410:
407:
376:Alberto Alonso
319:
316:
265:, snare drum,
186:
183:
182:
181:
178:
175:
172:
169:
166:
163:
160:
157:
154:
151:
148:
145:
137:
134:
107:Alberto Alonso
96:
95:
76:
72:
71:
63:
59:
58:
53:
49:
48:
46:Alberto Alonso
43:
39:
38:
32:
24:
23:
15:
9:
6:
4:
3:
2:
1926:
1915:
1912:
1910:
1907:
1905:
1902:
1900:
1897:
1895:
1892:
1890:
1887:
1885:
1882:
1880:
1877:
1876:
1874:
1867:
1862:
1852:
1850:
1840:
1839:
1836:
1821:
1816:
1812:
1811:
1806:
1803:
1799:
1796:
1792:
1789:
1788:
1783:
1779:
1774:
1771:
1770:
1765:
1762:
1761:
1756:
1755:
1753:
1749:
1741:
1740:
1735:
1731:
1730:
1729:Carmen's Kiss
1725:
1721:
1720:
1715:
1711:
1710:
1705:
1701:
1700:
1695:
1691:
1690:
1685:
1681:
1680:
1679:Carmen on Ice
1675:
1671:
1670:
1665:
1661:
1660:
1655:
1651:
1650:
1645:
1641:
1640:
1635:
1631:
1630:
1625:
1621:
1620:
1615:
1611:
1610:
1605:
1601:
1600:
1595:
1591:
1590:
1585:
1581:
1580:
1575:
1571:
1570:
1565:
1561:
1560:
1555:
1551:
1550:
1545:
1541:
1540:
1535:
1531:
1530:
1525:
1521:
1520:
1515:
1512:
1510:
1505:
1502:
1500:
1495:
1494:
1492:
1488:
1481:
1477:
1474:
1473:Carmen Suites
1470:
1467:
1466:
1461:
1458:
1457:Toreador Song
1454:
1451:
1447:
1444:
1443:
1438:
1435:
1434:
1429:
1426:
1422:
1421:
1419:
1415:
1407:
1406:
1401:
1397:
1396:
1391:
1388:(1967 ballet)
1387:
1386:
1381:
1378:(1949 ballet)
1377:
1376:
1371:
1367:
1366:
1361:
1360:
1358:
1354:
1346:
1345:
1340:
1339:
1337:
1333:
1329:
1328:
1323:
1322:Georges Bizet
1316:
1311:
1309:
1304:
1302:
1297:
1296:
1293:
1281:
1273:
1272:
1269:
1262:
1259:
1256:
1253:
1252:
1250:
1246:
1240:
1239:
1235:
1234:
1232:
1228:
1221:
1220:
1216:
1213:
1212:
1208:
1207:
1205:
1201:
1194:
1193:
1189:
1186:
1185:
1181:
1178:
1177:
1173:
1170:
1169:
1165:
1162:
1161:
1157:
1150:
1149:
1145:
1144:
1142:
1138:
1134:
1127:
1122:
1120:
1115:
1113:
1108:
1107:
1104:
1098:
1096:
1091:
1090:
1082:
1079:
1076:
1075:0-773-53585-3
1072:
1068:
1064:
1062:
1060:
1055:
1052:
1051:0-300-08857-4
1048:
1044:
1040:
1037:
1036:0-19-517589-1
1033:
1029:
1025:
1023:
1021:
1016:
1014:
1011:
1009:
1006:
1003:
1002:0-754-60699-6
999:
995:
991:
988:
985:
981:
978:
976:
974:
969:
967:
964:
962:
960:
959:Carmen Ballet
955:
954:
940:
931:
922:
915:
910:
901:
894:
889:
887:
877:
868:
861:
856:
849:
844:
837:
831:
822:
815:
810:
808:
800:
795:
786:
784:
782:
780:
778:
768:
766:
764:
754:
752:
750:
742:
737:
728:
726:
718:
713:
706:
700:
698:
696:
694:
692:
682:
680:
678:
676:
671:
657:
653:
652:
647:
641:
637:
623:
618:
616:
612:
611:
605:
603:
599:
595:
590:
586:
582:
572:
570:
566:
562:
558:
553:
551:
547:
543:
538:
534:
530:
525:
522:
518:
514:
510:
506:
501:
499:
495:
491:
486:
484:
480:
476:
466:
462:
455:
452:
448:
447:
441:
438:
435:
434:
429:
428:
423:
422:
417:
416:
415:a gypsy woman
406:
404:
398:
396:
395:Toreador Song
392:
391:
384:
380:
377:
373:
368:
366:
365:
360:
359:
354:
349:
345:
341:
338:The idea for
333:
329:
324:
315:
313:
308:
307:
303:
299:
295:
291:
286:
284:
280:
276:
272:
271:temple blocks
268:
264:
260:
256:
252:
247:
245:
241:
237:
233:
228:
227:
223:
219:
218:tubular bells
215:
211:
207:
203:
199:
195:
190:
179:
176:
173:
170:
167:
164:
161:
158:
155:
152:
149:
146:
143:
142:
141:
133:
130:
126:
125:
120:
116:
112:
108:
104:
103:
91:
77:
73:
70:
69:
64:
60:
57:
54:
50:
47:
44:
42:Choreographer
40:
35:
30:
25:
20:
1866:
1808:
1785:
1767:
1758:
1737:
1727:
1717:
1707:
1697:
1687:
1677:
1667:
1657:
1647:
1637:
1627:
1617:
1609:Carmen Jones
1607:
1597:
1587:
1577:
1567:
1557:
1547:
1537:
1527:
1517:
1511:(1915 Walsh)
1508:
1498:
1463:
1440:
1431:
1403:
1393:
1385:Carmen Suite
1384:
1383:
1373:
1365:Carmen Jones
1363:
1342:
1325:
1236:
1217:
1211:Carmen Suite
1210:
1209:
1190:
1182:
1174:
1166:
1158:
1146:
1095:Carmen Suite
1094:
1066:
1058:
1042:
1027:
1019:
993:
986:
973:Carmen Suite
972:
958:
939:
930:
921:
913:
909:
900:
892:
876:
867:
859:
855:
847:
843:
835:
830:
825:Fanning, 20.
821:
813:
798:
794:
740:
736:
716:
712:
704:
649:
646:Carmen Suite
645:
640:
620:
608:
606:
602:Carmen Suite
601:
585:Carmen Suite
584:
580:
578:
569:Carmen Suite
568:
557:Carmen Suite
556:
554:
550:Carmen Suite
549:
546:Carmen Suite
545:
542:Carmen Suite
541:
537:Carmen Suite
536:
526:
517:Carmen Suite
516:
505:Carmen Suite
504:
502:
498:Carmen Suite
497:
490:Carmen Suite
489:
487:
483:Carmen Suite
482:
475:Carmen Suite
474:
472:
469:Official ban
463:
459:
439:
436:
432:
430:
426:
424:
420:
418:
414:
412:
399:
390:L'Arlésienne
388:
385:
381:
369:
362:
356:
340:Carmen Suite
339:
337:
332:Carmen Suite
331:
311:
309:
287:
251:glockenspiel
248:
229:
191:
188:
139:
122:
102:Carmen Suite
101:
100:
99:
66:
22:Carmen Suite
1787:The Car Man
1769:G.I. Carmen
1425:Discography
1356:Stage works
1230:Other works
1219:The Seagull
651:Don Quixote
644:Instead of
533:Robert Ford
440:Magistrate
425:Escamillo,
318:Composition
285:, triangle
16:1967 ballet
1873:Categories
1802:Seguidilla
1263:(asteroid)
1160:Dead Souls
904:Ruud, 150.
871:Ruud, 149.
654:danced by
627:References
581:Gramophone
419:Don José,
288:Player 4:
283:tenor drum
249:Player 3:
236:woodblocks
232:tambourine
222:snare drum
198:vibraphone
192:Player 1:
83:1967-04-20
1347:(novella)
666:Citations
364:Spartacus
294:bass drum
275:bass drum
206:castanets
202:xylophone
136:Structure
1450:Habanera
1280:Category
703:Duchen,
589:Cold War
444:Synopsis
431:Zúñiga,
413:Carmen,
403:Habanera
306:tom-toms
255:crotales
246:, guiro
244:triangle
210:cowbells
208:, three
129:pastiche
92:, Moscow
75:Premiere
65:Bizet's
62:Based on
1835:Portals
1751:Related
1248:Related
1203:Ballets
1151:(1961,
951:Sources
596:–
513:Toronto
509:Expo 67
451:Seville
449:Place:
298:tam-tam
290:cymbals
279:tam-tam
259:maracas
212:, four
194:marimba
81: (
1879:Carmen
1813:(1962)
1742:(2022)
1739:Carmen
1732:(2011)
1722:(2005)
1709:Carmen
1699:Carmen
1692:(2001)
1682:(1990)
1672:(1984)
1669:Carmen
1662:(1983)
1659:Carmen
1652:(1983)
1642:(1978)
1632:(1968)
1622:(1962)
1612:(1954)
1602:(1948)
1592:(1942)
1589:Carmen
1582:(1938)
1572:(1938)
1562:(1931)
1559:Carmen
1552:(1927)
1542:(1926)
1539:Carmen
1532:(1918)
1529:Carmen
1522:(1915)
1509:Carmen
1499:Carmen
1405:Carmen
1375:Carmen
1344:Carmen
1335:Source
1327:Carmen
1257:(wife)
1222:(1980)
1214:(1967)
1195:(2013)
1187:(2006)
1179:(2002)
1168:Lolita
1163:(1976)
1140:Operas
1073:
1049:
1034:
1000:
916:, 280.
895:, 279.
862:, 277.
816:, 276.
801:, 205.
743:, 270.
529:Vienna
358:Gayane
302:hi-hat
267:cabasa
240:claves
234:, two
214:bongos
124:Carmen
68:Carmen
1861:Music
1417:Music
1155:1971)
799:Dance
632:Notes
437:Fate
409:Roles
226:guiro
52:Music
1820:Nxde
1171:1992
1153:rev.
1071:ISBN
1047:ISBN
1032:ISBN
998:ISBN
914:Maya
893:Maya
860:Maya
848:Maya
836:Maya
814:Maya
741:Maya
717:Maya
361:and
263:whip
1324:'s
1875::
982:,
885:^
806:^
776:^
762:^
748:^
724:^
690:^
674:^
300:,
296:,
292:,
281:,
277:,
273:,
261:,
257:,
253:,
242:,
238:,
224:,
220:,
216:,
204:,
200:,
196:,
1837::
1822:"
1818:"
1780:"
1776:"
1314:e
1307:t
1300:v
1125:e
1118:t
1111:v
1077:.
1053:.
1038:.
1004:.
707:.
85:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
